scholarly journals The relation of “positive psychotherapy” and art in the process of therapy

2021 ◽  
Author(s):  
Lubomira Dimitrova
Keyword(s):  
Work Process ◽  
Positive Psychotherapy ◽  
Aesthetic Experiences ◽  
Psychological Competence ◽  
Art Forms ◽  
The Aesthetic ◽  
The Way

Psychotherapy is considered to be the most difficult and at the same time the most attractive manifestation of psychological competence, the pinnacle of psychological realization, the master profession. For the therapist, who aims to support the client’s autonomy, art is key in the work process. This article discusses some of the art forms that used in the psychotherapeutic setting turn psychotherapy itself into art. The aesthetic experiences that the psychotherapist and the client go through on the way to achieving the desired goal are considered.

Painting, aesthetics of

2018 ◽  
Author(s):  
Robert Hopkins
Keyword(s):  
Picture Plane ◽  
Essential Elements ◽  
Two Dimensional ◽  
Art Forms ◽  
The Aesthetic ◽  
Aesthetic Values ◽  
Dimensional Picture ◽  
Do So ◽  
The Way

Why care about painting as an art? Does it offer to engage our aesthetic interest in ways that other art forms do not, or does it merely reproduce the aesthetic satisfactions they provide? Most paintings involve both marks on a surface, and something represented by those marks. Some attempts to say what is distinctive about painting concentrate on the former feature, understanding the art as an exploration of the two-dimensional picture plane. Others concentrate on the representational aspect, seeking to find something special about the things painting can represent, or the way in which it achieves this. The most promising approaches acknowledge both aspects, and do so as essential elements in the experiencewe have of painting. One such approach turns on the idea that the configurational aspect ‘inflects’ the representational, so that what we see in the picture itself somehow involves the marks from which the painting is composed. Another sees painting as offering aesthetic values found elsewhere, but in a distinctive form. Taking seriously the idea of our experience of painting also helps us to say something about a set of paintings we are otherwise in danger of ignoring - abstract works.

Painting, aesthetics of

2018 ◽  
Author(s):  
Robert Hopkins
Keyword(s):  
Picture Plane ◽  
Essential Elements ◽  
Two Dimensional ◽  
Art Forms ◽  
The Aesthetic ◽  
Aesthetic Values ◽  
Dimensional Picture ◽  
The Way

Why care about painting as an art? Does it offer to engage our aesthetic interest in ways that other art forms do not, or does it merely reproduce the aesthetic satisfactions they provide? Most paintings involve both marks on a surface, and something represented by those marks. Some attempts to say what is distinctive about painting concentrate on the former feature, understanding the art as an exploration of the two-dimensional picture plane. Others concentrate on the representational aspect, seeking to find something special about the things painting can represent, or the way in which it achieves this. The most promising approach acknowledges both aspects, and does so as essential elements in the experience we have of painting. If successful, this allows us to see painting as offering aesthetic values found elsewhere, but in a distinctive form. It also helps us to say something about a set of paintings we are otherwise in danger of ignoring – abstract works.

2. Sex, drugs, and rock ‘n’ roll

2019 ◽  
pp. 7-21
Author(s):  
Bence Nanay
Keyword(s):  
Aesthetic Experiences ◽  
Rock N Roll ◽  
The Aesthetic ◽  
The Way

The experiences that would count as aesthetic in some sense are very diverse, and it is challenging to find something they have in common. ‘Sex, drugs, and rock ‘n’ roll’ considers four influential accounts of aesthetics—focusing on beauty, pleasure, emotion, and ‘valuing for its own sake’—to see just how difficult it is to keep the aesthetic and the non-aesthetic apart. These accounts contain some really important pointers to how we should and how we should not think about the domain of aesthetics. It is then argued that these accounts all point in the same direction, namely, that what is special about aesthetics is the way we exercise our attention in aesthetic experiences.

La Traviata Affair

2018 ◽  
Author(s):  
Hilde Roos
Keyword(s):  
South Africa ◽  
Racial Boundaries ◽  
Cultural Organization ◽  
Colored People ◽  
Art Forms ◽  
Group A ◽  
La Traviata ◽  
Apartheid Regime ◽  
Opera Production ◽  
The Way

Opera, race, and politics during apartheid South Africa form the foundation of this historiographic work on the Eoan Group, a so-called colored cultural organization that performed opera in the Cape. The La Traviata Affair: Opera in the Time of Apartheid charts Eoan’s opera activities from its inception in 1933 until the cessation of its work by 1980. By accepting funding from the apartheid government and adhering to apartheid conditions, the group, in time, became politically compromised, resulting in the rejection of the group by their own community and the cessation of opera production. However, their unquestioned acceptance of and commitment to the art of opera lead to the most extraordinary of performance trajectories. During apartheid, the Eoan Group provided a space for colored people to perform Western classical art forms in an environment that potentially transgressed racial boundaries and challenged perceptions of racial exclusivity in the genre of opera. This highly significant endeavor and the way it was thwarted at the hands of the apartheid regime is the story that unfolds in this book.

Seeing Depicted Space (Or Not)

2018 ◽  
Author(s):  
Mikael Pettersson
Keyword(s):  
Empty Space ◽  
Material Objects ◽  
Pictorial Perception ◽  
The Aesthetic ◽  
Pictorial Experience ◽  
The Way

What is it to see something in a picture? Most accounts of pictorial experience—or, to use Richard Wollheim's term, ‘seeing-in’—seek, in various ways, to explain it in terms of how pictures somehow display the looks of things. However, some ‘things’ that we apparently see in pictures do not display any ‘look’. In particular, most pictures depict empty space, but empty space does not seem to display any ‘look’—at least not in the way material objects do. How do we see it in pictures, if we do? This chapter offers an account of pictorial perception of empty space by elaborating on Wollheim's claim that ‘seeing-in’ is permeable to thought. It ends by pointing to the aesthetic relevance of seeing—or not seeing—empty space in pictures.

scholarly journals Remix in the age of ubiquitous remix

2021 ◽  
pp. 135485652199445
Author(s):  
Abby S. Waysdorf
Keyword(s):  
Point Of View ◽  
Archival Material ◽  
History Of ◽  
Accepted Part ◽  
The Media ◽  
Contemporary Media ◽  
The Aesthetic ◽  
The Way

What is remix today? No longer a controversy, no longer a buzzword, remix is both everywhere and nowhere in contemporary media. This article examines this situation, looking at what remix now means when it is, for the most part, just an accepted part of the media landscape. I argue that remix should be looked at from an ethnographic point of view, focused on how and why remixes are used. To that end, this article identifies three ways of conceptualizing remix, based on intention rather than content: the aesthetic, communicative, and conceptual forms. It explores the history of (talking about) remix, looking at the tension between seeing remix as a form of art and remix as a mode of ‘talking back’ to the media, and how those tensions can be resolved in looking at the different ways remix originated. Finally, it addresses what ubiquitous remix might mean for the way we think about archival material, and the challenges this brings for archives themselves. In this way, this article updates the study of remix for a time when remix is everywhere.

All in the space of a poem: Spatial logics in poetry

2017 ◽  
Vol 47 (3) ◽  
pp. 249-258
Author(s):  
K. Arunlal ◽  
C. Sunitha Srinivas
Keyword(s):  
Print Culture ◽  
Cultural Practices ◽  
Contemporary Poetry ◽  
Living History ◽  
Modern History ◽  
Spatial Turn ◽  
Art Forms ◽  
Human Sense ◽  
Spatial Logics ◽  
The Way

One of the oldest cultural practices of human societies, poetry, simultaneously responded and contributed to the evolution of human sense of spaces. Before print culture became ubiquitous, poetry was a time-art: all classic poetic techniques and devices were meant to hold a piece of verse permanently in a person’s memory, and by extension, in a community’s living history. However, contemporary poetry has little use for the chronologic dimension of poetry. The correlation of spatialized poetry with the new proliferation of ideas regarding space can be explored in multiple angles. The way space is looked at has changed in all art forms due to certain contingencies of modern history. This paper is a mapping of these alterations in the spatial turn of poetry, and a further application of ideas of space in understanding contemporary poetry.

scholarly journals Haka and Hula Representations in Tourism

2021 ◽  
Author(s):  
◽  
Acushla Deanne O'Carroll
Keyword(s):  
Cultural Values ◽  
Tourism Industry ◽  
Cultural Representations ◽  
The World ◽  
Art Forms ◽  
Insight Into ◽  
The Way

<p>Haka and hula performances tell stories that represent histories, traditions, protocols and customs of the Maori and Hawai'ian people and give insight into their lives and the way that they see the world. The way that haka and hula performances are represented is being tested, as the dynamics of the tourism industry impact upon and influence the art forms. If allowed, these impacts and influences can affect the performances and thus manipulate or change the way that haka and hula are represented. Through an understanding of the impacts and influences of tourism on haka and hula performances, as well as an exploration of the cultures' values, cultural representations effective existence within the tourism industry can be investigated. This thesis will incorporate the perspectives of haka and hula practitioners and discuss the impacts and influences on haka and hula performances in tourism. The research will also explore and discuss the ways in which cultural values and representations can effectively co-exist within tourism.</p>

scholarly journals The Kwanyin Clan: Modern Literati Graffiti Writers

2019 ◽  
Author(s):  
Adriana Iezzi
Keyword(s):  
Present Article ◽  
Chinese Art ◽  
Artistic Production ◽  
New Development ◽  
Art Forms ◽  
Traditional Arts ◽  
First Time ◽  
The Way

After illustrating the varied artistic production of the Kwanyin Clan, one of the most important Chinese graffiti crews, this paper analyses six of their main artworks in detail (styles, techniques, aesthetic conceptions and artworks texts). In these artworks, the Kwanyin Clan tried for the first time to merge Euro-American graffiti practice with the ancient traditional arts practiced and appreciated by the Chinese literati (calligraphy, poetry, painting, seals and ceramics). Comparing the Kwanyin Clan members to ‘modern literati writers’, the present article shows how this crew succeeded in reinventing ancient Chinese art forms using Euro-American graffiti vocabulary, paving the way for a new development of graffiti art in China.

scholarly journals Aesthetics and Creativity. Identity Configurations

2022 ◽  
Author(s):  
Livia Durac ◽  
Keyword(s):  
Cultural Evolution ◽  
Human Action ◽  
Two Dimensions ◽  
The Other ◽  
Mutual Understanding ◽  
State Of Mind ◽  
Human Attitude ◽  
The Aesthetic ◽  
Nature And Society ◽  
The Way

Reflecting on human attitude towards reality, together with deciphering the emotional code that accompanies it, has configured - in time – the aesthetic universe, open to human reflection, creation, and evaluation. Aesthetics appears through the way in which consciousness reacts and capitalises upon things in nature and society, or which belong to human subjectivity, including on artistic work, which have an effect on sensitiveness due to their harmony, balance and grandeur. As a fundamental attribute of the human being, creativity is the engine of cultural evolution, meaning the degree of novelty that man brings in his ideas, actions, and creations. Aesthetical values, together with the other types of values, contribute to what society represents and to what it can become, hence motivating human action and creation. Their role is to create a state of mind that encourages the cohesion, cooperation, and mutual understanding of the society. Integrating a chronological succession of the evolution of the concepts that objectify its structure, its aesthetics and creativity, this article stresses the synergetic nature of the two dimensions of human personality, paving the way to beauty, as a form of enchantment of the human spirit.

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