Three Graces

2020 ◽  
pp. 1-11
Author(s):  
Ita Mac Carthy
Keyword(s):  
Fifteenth Century ◽  
Classical Tradition ◽  
Real World ◽  
Love Poetry ◽  
The Real ◽  
Verbal Language ◽  
The Arts ◽  
To Receive ◽  
Poetry And Music

This introductory chapter analyses the April fresco depicting the three Graces of classical tradition in the Salone dei mesi (Room of the months) of Ferrara's Palazzo Schifanoia. The Allegory of April transforms the abstract qualities of grace into an eloquent verbal language that is read from top to bottom by following the line of their spiritual passage from the heavens to deserving mortals below. Close allies of beauty and faithful escorts to Love, these qualities inspire the arts of love, poetry, and music. Through the sign of Taurus, they infuse the powers of liberality into the hearts of the elect. An ideal rather than a realistic portrait of universal grace and sociability, though, the fresco also conveys the real-world dearth of its qualities. For although the fresco's painter, Francesco del Cossa, paints grace with grace, he fails to receive grace in return. He shares in a problem that fifteenth-century poets, artists, male courtiers, and court ladies knew well: the problem of what happens when the grace personified and idealized in the figure of the three Graces meets with nothing but ingratitude.

Inception and the Arts

Inception ◽  
2019 ◽  
pp. 95-98
Author(s):  
David Carter
Keyword(s):  
Real World ◽  
Visual Simulation ◽  
Francis Bacon ◽  
The Real ◽  
The Arts ◽  
The World ◽  
Indirect Reference

This chapter looks at the specific artistic references in Christopher Nolan's Inception (2010). One artist is referred to by indirect reference and visual simulation of some of his works, and another is paid homage to by the inclusion of one of his works in a scene. The artists in question are M.C. Escher and Francis Bacon. The Dutch artist Maurits Cornelis Escher, famous for his works featuring constructions which would be impossible in the real world, is not directly named in the film, but he is referred to indirectly by the mention of a phenomenon which he utilised in his work: the so-called 'Penrose Steps'. Meanwhile, in a sequence in which Cobb is talking to Mal, there is a painting visible on the wall of the room, Bacon's Study for a head of George Dyer, 1967. Nolan clearly shares some perspectives on the world with Bacon: a fascination with distorted reality, a sense of horror as in a nightmare, and, in some cases, the real world being actually torn apart.

The New Reality in Art and Science

1969 ◽  
Vol 11 (4) ◽  
pp. 385-397 ◽  
Author(s):  
E. M. Hafner
Keyword(s):  
Real World ◽  
Public Attitude ◽  
Point Of View ◽  
Abstract Art ◽  
Free Expression ◽  
Abstract Painting ◽  
The Real ◽  
Conventional View ◽  
Modern School ◽  
The Arts

We are often told, and it is easy to believe, that the images of abstract art are not drawn from the real world. In the most conventional view of the modern school, abstract painting is a search for free expression of the artist's own vision. The non-representational painter works as he pleases and is pleased by little that he sees. A humorous drawing in a sophisticated magazine shows a studio full of wild canvases, with the artist gazing through the window at a magnificent sunset. He says to a friend, ‘Yes, old man, I admit that it's beautiful. Sometimes I'm sorry it's not the sort of thing I do.’ Authority for the establishment of a public attitude that makes such a joke possible is to be found in the writings of many critics and in the words of artists themselves. Harold Rosenberg: ‘The big moment [in art] came when it was decided to paint—just to paint. The gesture on the canvas was a gesture of liberation from value, political, aesthetic, moral.’ André Malraux: ‘What then was painting becoming, now that it no longer imitated or transfigured? Simply—painting.’ Sheldon Cheney: ‘I cannot do better, in trying to help you to an understanding of modernism, than to point out the devastating effect the realistic movement had on the arts as a whole.‘ Piet Mondrian: ‘In order that art … should not represent relations with the natural aspect of things, the law of the denaturalization of matter is of fundamental importance.’ Clive Bell: ‘Creating a work of art is so tremendous a business that it leaves no leisure for catching likenesses.’ Kasimir Malevich: ‘From the supremist point of view, the appearances of natural objects are in themselves meaningless. … The representation of an object … is something that has nothing to do with art.’ Laurence Binyon, in 1911: ‘The theory that art is, above all things, imitative and representative, no longer holds the field with thinking minds.’ Ortega y Gasset: ‘Painting completely reversed its function and, instead of putting us within what is outside, endeavored to pour out upon the canvas what is within: ideal invented objects.’

scholarly journals REVIEW: Climate change, media, culture and the arts

2012 ◽  
Vol 18 (2) ◽  
pp. 190
Author(s):  
Patrick Craddock
Keyword(s):  
Climate Change ◽  
Real World ◽  
Climate Science ◽  
Media Culture ◽  
Special Edition ◽  
The Real ◽  
Hard Science ◽  
The Arts ◽  
Good Point ◽  
Political Decisions

I approached this special edition of Dreadlocks with caution and apprehension. I saw two interpretations for the title: did it mean embracing science with creative political decisions for change, or did it mean using creativity through the arts as a symbol for approaching climate change? There is little hard science in these published papers, although there is a view from Richard Dawkins that makes an iconic appearance in a paper by Briar Wood from London Metropolitan University. This emphasises the Dawkins view that scientists must reach out to ‘…for want of a better word, poets’ and that there is a mismatch between science and the metaphorical language used to describe the real world. Improving communication and understanding is a good point to make, although where does climate science meet the arts?

Introduction

2020 ◽  
pp. 1-21
Author(s):  
Barbara H. Fried
Keyword(s):  
Moral Philosophy ◽  
Real World ◽  
The Real

The introductory chapter sets forth the broad argument of the book, and its relevance to the more particular concerns explored in succeeding chapters. While most of the attention in this chapter and succeeding ones is devoted to an internalist critique of nonconsequentialism, the chapter touches briefly on the real world implications of nonconsequentialist intuitions in moral philosophy.

Sexuality and Social Standing in Jan van Eyck's Arnolfini Double Portrait*

1990 ◽  
Vol 43 (2) ◽  
pp. 249-291 ◽  
Author(s):  
Craig Harbison
Keyword(s):  
Visual Acuity ◽  
Fifteenth Century ◽  
Real World ◽  
Social Standing ◽  
The Real ◽  
Specific Event ◽  
Single Moment ◽  
Realistic Image

In its Visual Acuity, the Arnolfini double portrait (fig. 1) is so beguiling that few have been able to resist its spell: "a simple corner of the real world has suddenly been fixed on to a panel as by magic." But in what ways can we speak of this portrait as a realistic image? How closely, for instance, does it portray a single moment or specific event in these people's lives? Was it meant to be viewed as a marriage document or contract? The Arnolfini double portrait is unique. It is the only fifteenth–century Northern panel to survive showing presumably identifiable contemporaries engaged in some sort of dialogue in a carefully rendered contemporary interior

Cassirer, Langer, and Dilthey on the Distinctive Kinds of Symbolism in the Arts

2020 ◽  
Vol 0 (0) ◽  
Author(s):  
Rudolf Makkreel
Keyword(s):  
Visual Arts ◽  
Real World ◽  
Ernst Cassirer ◽  
The Real ◽  
Wilhelm Dilthey ◽  
The Arts ◽  
Literary Arts ◽  
The Way

AbstractThis paper examines the ways in which Ernst Cassirer and Susanne Langer place the arts in the spectrum of symbolization. Langer claims that Cassirer is wrong to consider artistic symbolism as a more concrete mode of linguistic symbolism. Instead, artists create presentational symbols that are just as capable of formal articulation, i. e., of complex combinations, as words are. According to Langer, the presentational modes of articulation of music and the visual arts are altogether different from the syntactical mode that governs language. I argue that the way Langer imposes her presentational model on the literary arts goes too far in decontextualizing them from the real world. Thus I propose a more inclusive artistic spectrum which proceeds from Langer’s presentational symbolism to the typifying mode of symbolization suggested by Wilhelm Dilthey to Cassirer’s more ideational linguistic mode.

scholarly journals Performativity in the Real World: How Playing with Purpose Informs and Inspires Social Scientists

2015 ◽  
Author(s):  
Laura Beer
Keyword(s):  
Social Sciences ◽  
Research Methods ◽  
Real World ◽  
Social Scientists ◽  
The Real ◽  
The Arts

An adventure into a realm where scholarly endeavor and artistry live in harmony, Playing with Purpose is an inviting, provocative, intimate exploration of the intersection between the arts and social sciences. Mary and Ken Gergen are steeped in tradition al research methods and have evolved out of these into fluid expressions of their work that are academically rigorous and artistically satisfying.

Practicing Friendship: Epistolary Constructions of Social Intimacy in the Bahmani Sultanate

2017 ◽  
Vol 33 (1) ◽  
pp. 61-81 ◽  
Author(s):  
Emma Flatt
Keyword(s):  
Fifteenth Century ◽  
Real World ◽  
Letter Writing ◽  
The Real ◽  
Metaphorical Language ◽  
Similar Images ◽  
Social Intimacy

This article considers epistolary friendships in the fifteenth-century Bahmani Sultanate. Focusing on letters written by the Bahmani Vizier, Mahmud Gavan, to distant friends in other parts of the Persianate world, including the Timurid Sufi-poet Jami, I examine how friendship could be constituted through the practice of letter-writing. I argue that despite common assumptions about the rule-bound and formulaic nature of the genre of inshāʿ (letter-writing), correspondents could subtly mobilize the generic rules to conjure up unique and potent metaphorical declarations of friendship. Second, I argue that the dense semiotic field created by the recurrent use of similar images and chains of metaphors to symbolize friendship in letters reified certain practices as constitutive of friendship, and thus actually contributed to friendship practices in the ‘real’ world. Finally, I suggest that the metaphorical language used in inshāʿ is not merely an ornamental flourish, but actually an attempt to constitute an alternative reality: By writing to each other in terms which evoked the friendship practices of physically proximate friends, two friends separated by distance could metaphorically undertake those practices together.

Why are we (at least sometimes) conscious of our thoughts?

1993 ◽  
Vol 1 (1) ◽  
pp. 25-49 ◽  
Author(s):  
Benny Shanon
Keyword(s):  
Real World ◽  
The Real ◽  
The Arts

The two questions that constitute the title of the paper are examined in the context of thought sequences, i.e., progressions of phrase-like expressions that spontaneously run through people 's minds. The analysis of a corpus of such sequences suggests that the articulation of thought in language affords fluidity that makes novelty possible. The articulation makes control possible, it lends momentum to thought, it presents alternative avenues for the further progression of thought, it renders thought into an activity akin to action in the real world, and it results in objectivization that provides compartmentalization and reflection. While the discussion focuses on the medium of language, it is noted that similar patterns hold with other media of articulation, both in natural cognition and in the arts. General implications are proposed and discussed.

Introduction

2020 ◽  
pp. 1-16
Author(s):  
Jonathan Gilmore
Keyword(s):  
Real World ◽  
The Other ◽  
Affective States ◽  
States Of Affairs ◽  
The Real ◽  
The Arts ◽  
The Everyday ◽  
The One

This chapter identifies a general dilemma in descriptive and explanatory claims about the arts. On the one side is the pull of continuity, in which responses to the contents of fictions and other imagined creations are said to be modeled (morally, affectively, epistemically) on responses to ordinary real-world states of affairs. On the other is the pull of discontinuity, in which such engagements are posed as offering potentially sui generis sorts of experiences that resist assimilation or reduction to those encountered in the everyday. This chapter identifies the place of the book’s discontinuity thesis within that general tension, and discusses the thesis’s main rivals: (1) those who argue that our affective states are not the same kind across encounters with fictions and the real world; and (2) those who argue for continuity or invariance of affective states across those contexts.

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