Economies of the Wild: Speculations on Constant’s New Babylon and Contemporary Capitalism

2017 ◽  
Author(s):  
Bram Ieven
Keyword(s):  
Comparative Analysis ◽  
Art History ◽  
Architectural Design ◽  
Political Change ◽  
Main Argument ◽  
Political Ideas ◽  
Radical Critique ◽  
Counter Culture ◽  
New Babylon ◽  
Artistic Research

What if we approached Constant’s New Babylon not simply as a semi-architectural project firmly rooted in the politics and counter-culture of the early 1960s, but as a wild assemblage of aesthetic and political ideas that we can use to understand the nature of our own time? New Babylon, this article's main argument goes, is an artistic research project purposely working in multiple artistic mediums at the same time; it employs and puts to work the d​istinct forms o​f conceptual and aesthetic knowledge that writing, architectural design and painting can produce to patiently close in on its goal: a radical critique of existing society that takes play and creativity as the principles for political change. A speculative art history dealing with these kind of artistic projects, should use the insights and ideas that art produces to understand the present. This argument is unfolded and illustrated in the articles by performing an comparative analysis of New Babylon and the main features of contemporary capitalism (precarity, flexibility, mobility and communication).

scholarly journals The The Social Contract Theories of Thomas Hobbes and John Locke: Comparative Analysis

2021 ◽  
Vol 9 (1) ◽  
pp. 34-45
Author(s):  
John Michael V Sasan
Keyword(s):  
Comparative Analysis ◽  
Social Contract ◽  
John Locke ◽  
Thomas Hobbes ◽  
The State ◽  
Main Argument ◽  
State Of Nature ◽  
Political Ideas ◽  
The Social ◽  
Similarities And Differences

This study engages in the concept of social contract of Hobbes and Locke, and the similarities and differences of their ideas. Thomas Hobbes and John Locke both begin their political ideas with a discussion on the state of nature and the danger of living outside the community. For Thomas Hobbes, the state of nature is chaotic; it is in the state of mutual competition. He claims that the state of nature is a state of war, every man against everybody. Due to a constant competition for power and reputation, the man’s equality leads the state of nature into chaos. Man who is bestowed with equal capacities for thinking and reasoning is moved by whatever he wants for survival and preservation no matter what it takes. This state of nature, according to Thomas Hobbes, is a state of egoistic self-preservation and necessity for survival. Meanwhile, John Locke is rather optimistic in his view in the state of nature, compared to the pessimistic view of Thomas Hobbes. He sees humans as decent species which are capable of knowing what is right and wrong. Although man in the state of nature lives with full freedom, yet he is still at risk of harm and invasion. The property is very unsafe and unsecure, however, free yet full of fears. On this matter, man realizes and decides to create a contract and agree to the terms for peaceful and secure life for the safe and security of their liberty and possession. Furthermore, for Thomas Hobbes, social contract is a mutual transferring of rights to the sovereign. For him, social contract is responsible for the morality and the conception of right and wrong, just and unjust. Hence, social contract is very significant to every individual because it is the source of law and regulations and basis of morality. For Locke, the chief reason why man in creating an agreement or contract is the property. The main argument is Locke’s social contract.

Conclusion

2019 ◽  
pp. 211-220
Author(s):  
Alex Dika Seggerman
Keyword(s):  
United Arab Emirates ◽  
Art History ◽  
Arab Spring ◽  
September 11 ◽  
Terrorist Attacks ◽  
Main Argument ◽  
September 11 Terrorist Attacks ◽  
The Arab Spring ◽  
Modern Artists ◽  
Contemporary Context

This brief conclusion summarizes the contents of the book’s five chapters and restates the main argument: that Egyptian modern artists showcased a constellation modernism in their artistic approach and that they acknowledged their Islamic context, but refused to be defined by it. In an epilogue, Seggerman addresses the contemporary context of the book’s writing, including the September 11 terrorist attacks, the Arab Spring, and the growth of arts institutions in Qatar and the United Arab Emirates. She ends with a call for an ethical art history with greater empathy.

The Impact of the Eras and Varieties of Kufic art, on the Placement of Kufic in Architectural Design

2017 ◽  
Vol 4 (11) ◽  
pp. 194-199
Author(s):  
Cengiz Tavsan
Keyword(s):  
Comparative Analysis ◽  
Architectural Design ◽  
Complete Picture ◽  
Art Forms ◽  
The Impact

Kufic script is a form of calligraphy that has been in existence since the earliest years of Islam. A glance at arts in Islamic states reveals that calligraphy and a number of other art forms fared well, as painting was considered objectionable on religious grounds. The introduction of different versions of calligraphy for use in such buildings produces a wealth of images, enhancing the aesthetics of the buildings. Kufic reached its zenith in the Ottoman state, and the most glamorous examples of Kufic in architecture of Turkish states can be found in Ottoman structures. Kufic exhibits certain variations in terms of the forms used and the spots occupied in structures. This study is a comparative analysis of the types of Kufic and spots used in architectural design, and an analysis of the important examples, for a more complete picture of the varieties of Kufic used in various periods. Keywords: Kufic, Kufic in Ottoman state, Kufic and architecture, Kufic and mosques.

scholarly journals Artistic and aesthetic principles of German expressive dance in the context of the development of modern dance in the XXI century

2021 ◽  
Author(s):  
Olha Babich
Keyword(s):  
Comparative Analysis ◽  
Art History ◽  
Modern Dance ◽  
Stylistic Analysis ◽  
Physical Movement ◽  
Movement Experience ◽  
Distinctive Features ◽  
System Method ◽  
The World ◽  
Artistic Values

The purpose of the article is to identify the artistic and aesthetic features and leading trends in the development of German expressive dance of the first half of the twentieth century. and determine their impact on the development of modern dance in the first decades of the XXI century. Methodology. The system method is applied, thanks to which the peculiarities of German expressive dance are considered; the method of comparative analysis, which helped to identify common and distinctive features in the central concepts of dance K. Joss, M. Wingman, and P. Bausch; method of art history and artistic and stylistic analysis, through which identified and substantiated trends in the development of German modern dance and modern dance). Scientific novelty. The artistic and aesthetic principles of German expressive dance are studied on the basis of the analysis of choreography, aesthetics, and discourse of movement K. Joss, M. Wingman, and P. Bausch; the basic theatrical concepts of the range of emotions of the leading representatives of the German expressive dance motivating physical movement are revealed; determined that P. Bausch, M. Wingman and K. Yosse work with emotional space, which is directly related to physical movement and configures their own unique aesthetics of movement experience - dancers aestheticize the human body, covered and subject to strong emotions. Conclusions. The characteristic interest of German expressionist dance to inconspicuous, accidental, or natural manifestations of corporeality, the focus on violating previously established boundaries of art, the search for innovative ways to approach the chaos of reality, causing the formation of certain models of corporeality, and others. can be clearly seen in the modern dance of the early XXI century – phenomena, representing a unique way of artistic and bodily modeling of the world, become one of the important dancers and generators of current cultural and artistic values ​​and meanings. Key words: German expressive dance, modern dance, artistic and aesthetic principles, K. Joss, M. Wigman, P. Bausch.

scholarly journals Народное прикладное искусство номадов: тувино-калмыцкие параллели

2020 ◽  
Author(s):  
S. Batyreva
Keyword(s):  
Comparative Analysis ◽  
Cultural Heritage ◽  
Art History ◽  
Financial Support ◽  
Animal Husbandry ◽  
Museum Collections ◽  
Russian Culture ◽  
Applied Art ◽  
Increasing Process ◽  
Composition Of Products

Изучение культурного наследия в собраниях музеев призвано зафиксировать в описании художественные традиции народов России. В условиях глобализации, в усиливающемся процессе исчезновения наследия немногочисленных этносов приходит понимание необходимости его сохранения с целью дальнейшего исследования. Российская культура не может быть полноценно изучена вне ее локальных явлений, целенаправленно вводимых в научный оборот. В междисциплинарном музееведческом подходе, сочетающем методы искусствознания, истории и этнокультурологии, анализируется декоративно-прикладное искусство тюрко-монгольских кочевников из музейных собраний Калмыкии, Санкт-Петербурга и Тувы. Экспонаты войлоковаляния, рассматриваемые через призму традиций технической и художественной обработки шерсти, дают возможность выявить архетипы сознания в построении орнаментальной композиции изделий. В декоре войлока, древнейшего материала, созданного в кочевом укладе животноводческого хозяйства, отражены особенности пространственного мировидения номадов. Статья подготовлена при финансовой поддержке РФФИ, проект 19-512-44002 Народное декоративно-прикладное искусство ойратов Монголии и калмыков России: общее и особенное в сравнительно-сопоставительном анализе.The study of cultural heritage in Museum collections is intended to record the artistic traditions of the peoples of Russia in the description. In the context of globalization, in the increasing process of disappearance of minor groups heritage we come to understanding the need to preserve it for further research. Russian culture cannot be fully examined without its local phenomena, which are purposefully involved into scientific circulation. In an interdisciplinary Museum approach that combines the methods of art history, history, and ethnoculturology. The article analyzes the decorative- applied art of the TurkicMongolian nomads from the Museum collections of Kalmykia, St. Petersburg, and Tuva. Felting exhibits, viewed through the prism of traditions of technical and artistic processing of wool, make it possible to identify archetypes of consciousness in the construction of ornamental composition of products. The decor of felt, the oldest material created in the nomadic way of animal husbandry, reflects the features of the spatial worldview of nomads. The article is prepared with the financial support of the RFBR, project No. 19-512-44002 Folk decorative-applied art of the Oirats of Mongolia and the Kalmyks of Russia: The general and the special in comparative analysis.

Visions of Victory

2019 ◽  
pp. 186-231
Author(s):  
Thomas J. Brown
Keyword(s):  
United States ◽  
Civil War ◽  
Urban Planning ◽  
Art History ◽  
Political Change ◽  
The United States ◽  
Public Parks ◽  
The Future ◽  
Post War

This chapter situates northern and southern monuments to Civil War victory within longstanding traditions in art history. The triumphal arch came to the United States after the war. Proposals for arches framed debates about the future of antebellum landscapes like town commons and parade grounds, and arches also figured prominently in the shaping of public parks, largely a key feature of post-war urban planning. Increasingly sexualized statues of Nike, or Winged Victory, imagined Union triumph as a more comprehensive consummation than the most renowned successes of antiquity. Early attempts to represent peace incorporated a foundation in social or political change, but peace gradually converged with martial victory. The shift in Union memorials from regeneration to self-congratulation paralleled the rise of Confederate victory memorials. These works partly celebrated the overthrow of Reconstruction and consolidation of white supremacism but also illustrated a deepening national reluctance to engage in critical introspection.

Egypt and the Myth of the New Middle Class: A Comparative Analysis

1967 ◽  
Vol 10 (1) ◽  
pp. 46-65 ◽  
Author(s):  
Amos Perlmutter
Keyword(s):  
Comparative Analysis ◽  
Middle Class ◽  
Political Change ◽  
Recent Literature ◽  
Social Economic ◽  
Organizational Skills ◽  
Class A ◽  
New Middle Class ◽  
Primary Responsibility ◽  
Phases Of Development

Authors in recent literature on developing polities have been searching for a middle class that could and, some even argue, should assume primary responsibility for all phases of development: social, economic, and political. This middle class has been identified as the New Middle Class (NMC). In contrast to the “old” middle class, the authors maintain, the NMC will create leaders; is more numerous; possesses organizational skills; is honest; develops forward-looking “new men”; in short, is shouldering, and should shoulder, social and political change.

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