scholarly journals Being in Cosmos: Sergei Dykov’s Visual Exploration of the Spirit of Altai

Religions ◽  
2021 ◽  
Vol 12 (6) ◽  
pp. 405
Author(s):  
Andrzej Rozwadowski
Keyword(s):  
Contemporary Art ◽  
Visual Language ◽  
Visual Exploration ◽  
Human Beings ◽  
The World ◽  
Key Concepts ◽  
Art Forms ◽  
Visual Artist ◽  
Human Animal

This article focuses on how shamanism and animism, two important features of Altaic ontology, can be expressed in art. This is discussed by exploring the art of Sergei Dykov, a contemporary Altaic (south Siberian) visual artist, whose art is part of a wider trend in modern Siberian art of rediscovering the conceptual potentials of indigenous Siberian values. Dykov is one of those artists whose fascination with Siberian culture is not limited to formal inspirations but who also seeks how to express these indigenous values in contemporary art forms. Drawing on Altaic folklore, its myths and beliefs, including shamanism, as well as ancient Siberian art forms, Dykov searches for a new visual language capable of expressing the Altaic perception of the world. For him, therefore, painting is significantly an intellectual project involving an attempt to understand the indigenous ontology of being in the world. The key concepts around which his art revolves are thus human-animal transformations, human and non-human beings’ relations, and the interconnectedness of the visible and nonvisible. The study was based on an analysis of a sample of his unpublished artworks.

scholarly journals Los ‘apocalipsis silenciosos’ del arte contemporáneo como dispositivos transformadores de conciencia para la reparación de una memoria ecológica degradada

2020 ◽  
Vol 23 ◽  
pp. 230-246
Author(s):  
Ricardo González-García
Keyword(s):  
Contemporary Art ◽  
Human Beings ◽  
Capitalist System ◽  
Future Scenario ◽  
Raising Awareness ◽  
The Social ◽  
The World ◽  
El Sistema ◽  
Unlimited Growth ◽  
Arte Contemporáneo

Como una reunión simbólica de conciencia, toda gran obra de arte es un apocalipsis silencioso que, con sus significativas impresiones o interacciones, puede llegar a transformar la estructura social. Transfigurando el mundo mediante sus espacios de representación, es capaz de adquirir una capacidad profética que denuncia situaciones a fin de, como en el caso específico aquí ofrecido, reestablecer el equilibrio de los ecosistemas degradados por la huella que el ser humano ha impreso sobre ellos. Esta misma impronta antropocénica, auspiciada por la idea de progreso que confiere la utopía del crecimiento ilimitado propuesta por el sistema capitalista, paradójicamente podría llevar al ser humano a asistir al fin de su propia especie. Por esta razón, parte del arte contemporáneo lleva tiempo sumamente preocupado en concienciar a la sociedad y, así, frenar la llegada de un catastrófico escenario futuro. Debido a la urgencia de esta acuciante situación, se abordan diversas denuncias establecidas en las prácticas artísticas para cambiar la actitud de sus espectadores. Para ello, se proponen aquí dos vertientes: la de obras que muestran escenarios distópicos y la de otras más activistas que tratan de atajar la situación desde entornos concretos. As a symbolic gathering of conscience, every great artwork is a silent apocalypse that, with its significant impressions or interactions, can transform the social structure. Transfiguring the world through its spaces of representation, it is capable of acquiring a prophetic capacity that denounces situations in order to, as in the specific case offered here; restore the balance of ecosystems degraded by the footprint that human beings have printed on them. This same anthropocenic imprint, sponsored by the idea of progress that confers the utopia of unlimited growth proposed by the capitalist system, paradoxically could lead the human being to attend the end of his own species. For this reason, part of contemporary art has been extremely concerned about raising awareness in society and, thus, curbing the arrival of a catastrophic future scenario. Due to the urgency of this pressing situation, we complaints various complaints established in artistic practices to change the attitude of its spectators. To do this, we proposed two aspects here: that of works that show dystopian scenarios and that of other more activists which try to tackle the situation from specific environments.

The Geopolitics of the Personal

2019 ◽  
pp. 161-198
Author(s):  
Cairns Craig
Keyword(s):  
Contemporary Art ◽  
Human Beings ◽  
Modern History ◽  
Gabriel Marcel ◽  
The Past ◽  
Lack Of Control ◽  
The World ◽  
Human Individual ◽  
Territorial Rights

Christian existentialist philosophers, such as Gabriel Marcel, argued for a conception of the human individual not as an isolated subjectivity, as in Descartes’ cogito, but as born into and shaped by its relationships with others. ‘Being’ is necessarily ‘being with’. Spark’s plots dramatise, in characters such as Jean Brodie, the dangers of an isolating subjectivity that seeks to make the world conform to its own wishes in order to deny the fact they have been ‘thrown’ into a world they did not choose. In defiance of Sartre’s emphasis on the ability of human beings to choose their own future, Spark’s novels emphasise the historical and geographic ‘thrownness’ of her characters, their accidental arrival in situations they did not choose. These may be the geographical flashpoints of modern history, such as the Palestine of The Mandelbaum Gate, or the temporal eruption of the past into the present, as in Territorial Rights. It is this fundamental lack of control that leads Spark to insist that ridicule must be central to contemporary art, since ridicule not only challenges religious, political and ideological efforts to control events but challenges the presumptions of art itself when it seeks to shape the world.

scholarly journals The Epistemology of “Contemporary Art” Noumenon

2020 ◽  
pp. 1-21
Author(s):  
Cheng Yuan
Keyword(s):  
Contemporary Art ◽  
Value Orientation ◽  
Theory And Practice ◽  
Human Beings ◽  
Cultural Experience ◽  
Chinese Contemporary Art ◽  
The World ◽  
Cognitive Experience ◽  
And Behavior ◽  
Historic Approach

“Contemporary art” is universal, but in international commonality, Chinese contemporary art has its specific problems that it faces: this includes scientific falsification and critique of artistic conspiracy and deception, highlighting the contemporary nature of contemporary art’s cognitive function, and connecting relationship with theory and practice,history and logic between contemporary art and artistic phenomenology, such as “world 2,” “practice-spirit” and behavior, installation, etc., thus welcoming the world identity of “cognitive experience”and “spiritual practice.”From the above three parts, the article identifies, “contemporary art” is a view of problem consciousness, concept, and human beings’ independent personality and dignity. On the historical approach and value orientation, she is not only a historical uplift to the function of art cognition but also a historic approach and representation of the era of “cultural experience” and“civilized practice.”

scholarly journals Punctures in the Periphery. Show-Bix and the Media Conscious Practice of Per Højholt.

Nordlit ◽  
2007 ◽  
Vol 11 (1) ◽  
pp. 115
Author(s):  
Morten Søndergaard
Keyword(s):  
New Media ◽  
Contemporary Art ◽  
Artistic Practice ◽  
Avant Garde ◽  
Art Scene ◽  
Art Forms ◽  
Visual Artist ◽  
The Media ◽  
Paradigmatic Change ◽  
Definition Of

Around 1967 and onwards, Per Højholt (1923-2004) performs a series of punctures in the periphery of a small and self-conscious avant-garde in Denmark - experiments that combine most of the known art forms and genres in a still more active dialogue with new media and technology.One of the first things Højholt engaged himself in at the time was Show-Bix, which is best described as an artist group consisting of the photographer and visual artist Poul Ib Henriksen, composer Gunner Møller Pedersen, and Per Højholt (at the time described largely as a poet). The group was operative from 1968 and until 1971, a period during which it conducted a series of complex experiments involving an audience as well as a media consciousness which is quite unique in Denmark - perhaps even more so today. In fact, I claim that Show-Bix is the visible proof of a paradigmatic change in Per Højholt's artistic practice, as well as in the overall definition of the contemporary art scene.

scholarly journals "IMPACT OF MINIATURE PAINTING ON CONTEMPORARY ARTISTS OF RAJASTHAN"

2019 ◽  
Vol 7 (11) ◽  
pp. 204-206
Author(s):  
Indu Joshi ◽  
Kamal Kishore Kashyap
Keyword(s):  
Contemporary Art ◽  
Human Life ◽  
Psychological Effects ◽  
Human Beings ◽  
The World ◽  
Miniature Painting ◽  
The Creation ◽  
Indian Painting ◽  
Made In ◽  
Contemporary Artists

Contemporary art which believes in the creation of an unimaginable world by creating new forms of continuous form which has shaped its sensation by mixing multiple modes of expression and has also reduced the distance of art from other experimental disciplines. As a result, the creation of an artwork today has created a new way to express the psychological effects of human beings through pictures by creating musical melodies, perfume fragrances and many other environments.The influence or inspiration of something has always been behind any experiment or work in human life, in the same way, many contemporary artists, influenced by the Indian miniature, painting tradition, developed their own art style by creating new forms. At the same time, the work of inspiring the invaluable heritage of Indian painting in a changing environment. Contemporary artists have succeeded in creating amazing picture forms by blending contemporary and interactive shapes, by entering the world of miniature paintings made in small color, color, method, contemporary artists by entering the world of canvas and oil colors.A long list of artists who have attracted the whole world by creating such art forms is working in Rajasthan, which includes Chhotu Lal, Shail Chappell, Couple Kishore Upadhyay, Rameshwar Baruta, Lalit Shrama, Prabha Shah, Lalchand Marothia, Charan Sharma, Kiran Murdia etc. includes many names. समकालीन कला जो नित नवीन रूपों का सृजन कर एक अकल्पनीय संसार के सृजन में विश्वास रखती है जिसने अभिव्यक्ति के अनेक साधनों के मिश्रण से अपपनी अनुभूति को एक आकार प्रदान करने के साथ अन्य प्रयोगधर्मी विषयों से कला की दूरी को कम करने का भी कार्य किया है जिसका परिणाम है कि एक कलाकृति का निर्माण आज संगीत की धुन, इत्र की सुगंध एवं अन्य कई प्रकार के वातावरण का सृजन कर मनुष्य के मनोवैज्ञानिक प्रभावों को चित्रों के माध्यम से अभिव्यक्त करने का नवीन मार्ग प्रशस्थ हुआ।मनुष्य के जीवन में कोई भी प्रयोग या कार्य के पीछे हमेशा से ही किसी चीज का प्रभाव या प्रेरणा कार्य करती आयी है उसी प्रकार से अनेक समकालीन कलाकारों ने भारतीय लघु, चित्र परम्पपरा से प्रभावितत होकर अपनी कला शैली का विकास कर नवीन रूपों के सृजन के साथ-साथ भारतीय चित्रकला की अमूल्य धरोहर को बदलतते परिवेश में गति प्रदान करने का कार्य किया है। छोटे-छोटे पारस्परिक रूप-रंग, विधि में बने लघु चित्रों के संसार को समकालीन कलाकारों ने कैनवास एवं तैल रंगों की दुनियां में प्रवेश कराकर समकालीन एवं पारस्परिक आकारों के समिश्रण से अद्भुत चित्र रुपों की रचना करने में सफल रहा है। इस प्रकार के कला रूपों का सृजन कर सम्पूर्ण विश्व को आकर्षित करने वाले कलाकारों की एक लम्बी सूची राजस्थान में कार्यरत हैं जिसमें छोटू लाल, शैल चैपल, युगल किशोर उपाध्याय, रामेश्वर बरूटा, ललित श्र्मा, प्रभा शाह, लालचंद मरोठिया, चरन शर्मा, किरण मुर्डिया आदि अनेक नाम शामिल हैं।

scholarly journals CONCEPCIONES SOBRE LOS ANIMALES EN GRUPOS MAYAS CONTEMPORÁNEOS

2015 ◽  
Vol 10 (20) ◽  
pp. 6 ◽  
Author(s):  
Fernando Guerrero Martínez
Keyword(s):  
Indigenous People ◽  
Natural Environment ◽  
Human Beings ◽  
Way Of Life ◽  
Privileged Position ◽  
The World ◽  
Human Animal ◽  
Human Animal Interaction ◽  
Animal Interaction ◽  
Los Grupos

Las concepciones de los grupos mayas sobre la fauna involucran conocimientos y prácticas que son resultado de una percepción aguda del entorno. En este trabajo se articulan algunos de los aspectos importantes de la interacción humano-animal para mostrar la complejidad subyacente a la noción de lo que significan los animales en el mundo maya y sus implicaciones para sus pobladores. La narración del origen de la fauna en diferentes relatos mayas justifica la naturaleza de los animales, su papel en el mundo y su relación con los humanos. La posición privilegiada de aquellos como puente del humano con las deidades y otros seres se verifica mediante las señales y los presagios que da la fauna. El contacto con los animales del entorno posibilita relaciones de diversa índole que son útiles para la población indígena, para desarrollar su forma de vida y sus explicaciones sobre el mundo. CONTEMPORARY MAYAN GROUPS’ CONCEPTS ABOUT ANIMALS The concepts Mayan groups have regarding fauna involve knowledge and practices that result from sharp observation of their surroundings. This paper articulates important aspects of human-animal interaction in order to demonstrate the complexity underlying the notion of what animals mean in the Mayan world and the implications for the inhabitants of these areas. Narratives regarding the origin of animals in different Mayan stories describe the nature of animals, the role they play in the world and their relationship with humans. Animals’ privileged position as a bridge between human beings and deities and other beings can be read through animal signs and omens. Contact with animals in their natural environment enables diverse kinds of relationships that are of use to indigenous people in developing their way of life and their explanations about the world.  

Uncountable Matter

2017 ◽  
Vol 39 (1) ◽  
pp. 17-41
Author(s):  
Jacques Lezra
Keyword(s):  
New Materialism ◽  
Human Hand ◽  
Face To Face ◽  
The World ◽  
Human Animal

Humanism returns for the New Materialism in ‘nonhuman’ form as matter. New ‘matter’ and new materialism thus fashion the world to human advantage in the gesture of abjecting us. They commit us to the humanism of masochists. They offer an animistic and paradisiacal realm of immediate transactions, human to human, human to and with nonhuman, face to face, world without end. The impulse is tactically and strategically useful. But ‘matter’ will not help us if we fashion it so that it bears in its concept the signature of a human hand in its making. Can we do otherwise? Only by conceiving matter as what absolutizes what is not-one: matter from which no discipline will normally, normatively, produce an object or take its concept; on which heroical abjection will founder; matter non-human in ways the human animal can neither designate, nor ever count.

“Utopia First!” A Machiavellian Conception of Solidarity in More's Utopia

Moreana ◽  
2018 ◽  
Vol 55 (Number 209) (1) ◽  
pp. 79-93
Author(s):  
Marie-Claire Phélippeau
Keyword(s):  
At Risk ◽  
Human Beings ◽  
Farm Work ◽  
The World ◽  
Social Difficulties ◽  
The Republic ◽  
The Individual ◽  
Democratic Elections ◽  
Communal Organization

This paper shows how solidarity is one of the founding principles in Thomas More's Utopia (1516). In the fictional republic of Utopia described in Book II, solidarity has a political and a moral function. The principle is at the center of the communal organization of Utopian society, exemplified in a number of practices such as the sharing of farm work, the management of surplus crops, or the democratic elections of the governor and the priests. Not only does solidarity benefit the individual Utopian, but it is a prerequisite to ensure the prosperity of the island of Utopia and its moral preeminence over its neighboring countries. However, a limit to this principle is drawn when the republic of Utopia faces specific social difficulties, and also deals with the rest of the world. In order for the principle of solidarity to function perfectly, it is necessary to apply it exclusively within the island or the republic would be at risk. War is not out of the question then, and compassion does not apply to all human beings. This conception of solidarity, summed up as “Utopia first!,” could be dubbed a Machiavellian strategy, devised to ensure the durability of the republic. We will show how some of the recommendations of Realpolitik made by Machiavelli in The Prince (1532) correspond to the Utopian policy enforced to protect their commonwealth.

Jalan Kesempurnaan Menurut Jamaah Insan Al-Kamil di Cijati Desa Cikareo Selatan Sumedang

2020 ◽  
Vol 2 (1) ◽  
pp. 23-37
Author(s):  
Syarifudin Syarifudin
Keyword(s):  
Qualitative Method ◽  
Human Beings ◽  
The Core ◽  
The World ◽  
The Subject ◽  
Religious Sect ◽  
Descriptive Qualitative

Each religious sect has its own characteristics, whether fundamental, radical, or religious. One of them is Insan Al-Kamil Congregation, which is in Cijati, South Cikareo Village, Wado District, Sumedang Regency. This congregation is Sufism with the concept of self-purification as the subject of its teachings. So, the purpose of this study is to reveal how the origin of Insan Al-Kamil Congregation, the concept of its purification, and the procedures of achieving its purification. This research uses a descriptive qualitative method with a normative theological approach as the blade of analysis. In addition, the data generated is the result of observation, interviews, and document studies. From the collected data, Jamaah Insan Al-Kamil adheres to the core teachings of Islam and is the tenth regeneration of Islam Teachings, which refers to the Prophet Muhammad SAW. According to this congregation, self-perfection becomes an obligation that must be achieved by human beings in order to remember Allah when life is done. The process of self-purification is done when human beings still live in the world by knowing His God. Therefore, the peak of self-purification is called Insan Kamil. 

Lived Catholicity

2019 ◽  
Vol 3 (1-2) ◽  
pp. 149-163
Author(s):  
Jeffrey S. Kirch
Keyword(s):  
Pope Francis ◽  
The World ◽  
Key Concepts ◽  
Multiple Levels ◽  
The Church

Both Pope Francis and Robert Schreiter recognize that the world has been profoundly affected by conflict, globalization, and the breakdown of relationships on multiple levels. They also assert that the Church must address these situations. The ecclesiologies of both Schreiter and Francis offer effective tools for this work. This article will examine several key, shared concepts within their ecclesiologies. Specifically, their understandings of the missionary nature of the Church and their robust understanding of catholicity prove to be key concepts in the Church's response to a world marred by sin.

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