scholarly journals Arte interativa: quem é o autor e onde está o espectador?

2020 ◽  
Author(s):  
António Cardoso

This article examines how the emergence of interactive art brought about the necessity of re-positioning the traditional role of the spectator and led to the re-formulation of the notion of authorship. The non-linear structure of interactive artworks empowers the spectator with the (apparent) control of its narrative and creates a relational space filled with an input-output dynamic. It is suggested that this elevates the spectator to the realm of co-authorship of the work of art that he/she is interacting with, because the specificity of each interaction generates symbolic meanings that the original author cannot anticipate.It is also argued that the input required from the spectator to interact with the artwork could be compared to a theatrical performance. Thus, an analogy between the spectator-in-action of an interactive artwork and the figure of an actor is established. This brings us to the question concluding the article: as the reception of interactive art implies an action from its spectator, the compatibility between action and contemplation is questioned.Finally, the article concludes that the corpus of an interactive artwork has to include the spectator that acts and creates the input needed for the interaction to be established. Therefore, only from the point of view of an external observer one can gain access to its global dimension, that is, as meta-spectators.

2021 ◽  
Vol 19 (1) ◽  
pp. 221-238
Author(s):  
Tamara Batalova

Within the framework of Pavel Medvedev’s sociological poetics, the article identifies and studies the features of the narrative in Fyodor Dostoevsky’s Notes from a Dead House, and examines the role of these features in expressing the key idea of this novel, namely the desire of convicts for freedom, for “resurrection from the dead”. From this point of view, the author examines the significance of the narrator’s duality (Goryanchikov and Goryanchikov-Dostoevsky) and the juxtaposition of the characters in the narrative (positive and negative). He also analyzes the compositional function of the XI chapter of the first part of Notes from a Dead House, “Presentation”, in the plot. The Christian faith plays the vital role in the expression of the essential idea of the work. An open-minded attitude to people, a friendly, Christian approach towards them is a distinctive feature of Goryanchikov-Dostoevsky and all the positive characters in the book. Inspired by the celebration of the Nativity of Christ, the convicts staged a theatrical performance, which alters the moral state of both the actors and the audience, fortifies their sense of self-esteem required to resist the prison orders that “deaden” people, and strengthens the prisoners’ desire for freedom, for “resurrection from the dead”. The article concludes that Notes from a Dead House is the beginning of aesthetic and artistic changes that manifested themselves in Dostoevsky’s post-prison works.


2019 ◽  
Vol 52 (03) ◽  
pp. 424-449
Author(s):  
Nicola Bassoni

AbstractThe relevant historiography has largely overlooked the role of Karl Haushofer as a cultural-political actor in National Socialist-Fascist relations. From 1924 to 1944, the German geopolitician dealt extensively with Italy, with an eye to both its geopolitical role in Europe and to the political system of Benito Mussolini's regime. On behalf of Rudolf Hess, he began visiting Italy during the 1930s, aiming to overcome ideological and political misunderstandings between Rome and Berlin. He established a network of contacts with Italian scholars and politicians, passed information back to the so-called deputy Führer, and attempted to influence official German policy toward Italy. He eventually promoted the development of an Italian geopolitics, and, in so doing, achieved one of the most significant cultural-political transfers from National Socialist Germany to fascist Italy. This article analyzes the contacts between Haushofer and Italy, both his political activities and his geopolitical theories. It is a case study of a history of contradictions: a man committed to Pan-Germanist culture and to the defense of German minorities abroad, Haushofer also attempted to improve relations between Berlin and Rome. Moreover, he considered the Axis from a geopolitical point of view—as a realization of the European imperial idea—and from a trilateral perspective, i.e., he viewed Japan not only as an ally, but also as a cultural and political model. The reconstruction of Haushofer's relations with Italy is, therefore, an opportunity to rethink the antinomies, as well as the global dimension, of the National Socialist-Fascist alliance.


Author(s):  
Yatsiv M ◽  

Scenography is a special kind of fine art and a visual aspect of a theatrical spectacle. Its task is to form the space of the stage with the help of plastic, painting and light-colour effects, which are inextricably linked with each other and theatrical action. In a theatrical performance, it is a way to immerse the spectator in something special - the atmosphere conceived by the director, created by the theatrical artist, director of light and actors. The purpose of the publication is to try to reveal the role of light and colour in the stage decisions of Yevhen Lysyk, to establish how these means formed a unique painting style of the artist, which turned his scenography into an independent component of opera and ballet performances. For the scenography of Y. Lysyk, a characteristic method is the use of optical illusions. He uses architectural and light-coloured optical illusions as a means of enhancing the perception of forms and space of scenography. Such optical illusions include the law of light irradiation, illusions of magnification of vertically arranged elements in comparison with horizontal ones, colour contrasts, subjective perception of colours (chromatic stereoscopy), etc. His stage solutions differ in their colour scheme. In most performances, the artist's scenography dominates the structure of theatrical action. The play of colour contrasts and bright spots on the huge monumental canvases causes the audience a reflexive desire to open their eyes, thereby sharpening the hearing and "turns on" the imagination. The subjective tendency to colour testifies to the inner world of the artist and at the same time to the way of his thinking, the peculiarities of his creative manner. The following research methods were used: visual, comparative, philosophical, artistic, stylistic and iconographic. Analysis of individual stage solutions Y. Lysyk allowed us to draw a theoretical conclusion: light and colour play an important role in shaping the creative concept of an outstanding theatrical artist, and contribute to the formation of his unique style and manner of performing artistic and monumental stage solutions. The theoretical assumption is made that their integral performance, in the context of composition, perspective system, proportions, ways of using light and colour approaches the basic principles of construction in iconographic images of the Christian tradition.


2021 ◽  
Vol 45 (1) ◽  
pp. 1-20
Author(s):  
Hilary Teynor Donatini

Sir Roger de Coverley, representative of the landed gentry in The Spectator, is typically read as a lovable, old-fashioned eccentric and comic object. Closer attention to the series of essays set in and around Sir Roger’s Worcestershire estate — especially numbers 117, 122, and 130 — reveals that the baronet’s work as a justice of the peace stimulates Mr. Spectator’s moral development. Sir Roger’s intimate relationships with his inferiors and his quasi-familial approach to problem-solving challenge Mr. Spectator’s worldview, allowing Addison and Steele to express their ideas through an interplay of voices. Mr. Spectator’s evolving first-person perspective, animated by the loose, ad hoc structures of the justice’s work, where determining the beginning and ending of a legal action is often difficult, clarifies Sir Roger’s exemplary functions in the text. This essay argues that The Spectator functions as a provocative inquiry into ideology rather than a vehicle for Whiggish politics through a narrative point of view that responds to the characters and settings it encounters, most significantly the figure of the country magistrate. The Spectator’s adoption of the magistrate’s structures of judgment elucidates the role of the rural justice of the peace in eighteenth-century English society and law.


Philosophies ◽  
2019 ◽  
Vol 4 (3) ◽  
pp. 47 ◽  
Author(s):  
Daniel Paul O’Brien

Within this paper, I explore the look and feel of the subjective point-of-view (POV) shot in narrative cinema and how it presents an awkward and uncomfortable space for the viewer to inhabit. It considers what David Bordwell has called the surrogate body: the concept in which viewers step into the role of an offscreen protagonist. In numerous films, this style invites the spectator to see and feel through the eyes and movement of a particular type of surrogate character, which as I argue, predominantly consists of killers, victims or socially inept characters. The term I give for this particular trait in cinema is hap-tech narration, which is inspired by Laura Marks’ concept of haptic cinema. Unlike Marks’ understanding of haptic which focuses upon sensual beauty, hap-tech narration considers phenomenological uncomfortableness which is considered through Don Ihde’s philosophy of technology. This paper incorporates Ihde’s framework of postphenomenology, which considers how experientiality is changed and filtered through technological devices (which in this analysis will be the technology of the camera and the frame of the screen). Using Ihde’s postphenomenological understanding of human–technology relationships (which this work explores in detail), I consider a range of narrative films that utilise POV camerawork, including: Delmer Daves’ Dark Passage (1947), Michael Powell’s Peeping Tom (1960) and Julian Schnabel’s Le Scaphandre et le Papillon (The Diving Bell and Butterfly, 2007). Each of these titles present events through the subjective gaze of a killer, victim or socially damaged character. This paper offers a rationale as to why this is the case by addressing POV through the philosophy of Ihde, enabling an understanding of hap-tech narration to be unpacked, in which viewers are placed into corrupted and damaged corporeality through the technological power of the camera.


2009 ◽  
Vol 3 (3-4) ◽  
pp. 73-77
Author(s):  
Sándor Magda ◽  
Andrea Herneczky ◽  
Sándor Marselek ◽  
Erika Varga

The knowledge-based, competitive economy places a great emphasis on the education system. The responsibility of higher education is to impart knowledge of high standard which is in harmony with the continuously changing environment. Higher education has a special role in the knowledge-based economy since it does not only have to fulfil educational but also research an innovation tasks. The decrease in the traditional role of agriculture as well as international tendencies facilitate diversification, i.e. the emergence of new roles and the relevant activities. Due to the diversification of agriculture fields like environmental protection, bioenergetics, and rural development have become more emphatic. The growing importance of these new fields is also significant from the point of view of education. Well trained professionals are of vital importance for the agriculture. A significant number of fresh graduates are not employed in their profession; they find a job in other areas or continue their education in a different field of interest. This research is based on a representative survey amongst agricultural graduates. Its objective is finding facts about how the graduates of the past five years assess higher education training and also about the factors employers take into consideration when employing a fresh graduate.


1992 ◽  
Vol 13 (1) ◽  
pp. 23-26
Author(s):  
Karmela Bélinki

The two novels of this paper, Anzia Yezierska’s Bread Givers and Herman Wouk´s Marjorie Morningstar, represent sequent generations in American Jewish immigrant literature. Bread Givers (1925) is partly an autobiographical novel, the story of an American Jewish immigrant girl in conflict with her traditional role as the servile daughter of a demanding father and the growing impact of American society. Marjorie Morningstar (1955) treats basically the same theme, the clash between tradition and transition, although from the point of view of second generation immigrants. The basic fears of assimilation and loss of identity in the Jewish sense are still there. Both novels also focus on the role of women and particularly the changing role of Jewish women.


Author(s):  
N.V. Belov ◽  
U.I. Papiashwili ◽  
B.E. Yudovich

It has been almost universally adopted that dissolution of solids proceeds with development of uniform, continuous frontiers of reaction.However this point of view is doubtful / 1 /. E.g. we have proved the active role of the block (grain) boundaries in the main phases of cement, these boundaries being the areas of hydrate phases' nucleation / 2 /. It has brought to the supposition that the dissolution frontier of cement particles in water is discrete. It seems also probable that the dissolution proceeds through the channels, which serve both for the liquid phase movement and for the drainage of the incongruant solution products. These channels can be appeared along the block boundaries.In order to demonsrate it, we have offered the method of phase-contrast impregnation of the hardened cement paste with the solution of methyl metacrylahe and benzoyl peroxide. The viscosity of this solution is equal to that of water.


2009 ◽  
pp. 4-27
Author(s):  
A. Cohen ◽  
G. Harcourt

The article written by the well-known theorists and historians of economic thought contains a detailed overview of the Cambridge capital controversy, which had raged from the mid-1950-s through the mid-1970-s. The authors track the origins of the controversy and cover arguments of both sides in chronological order. From their point of view, the discussion hasnt been resolved, and its main underlying aspects were ideological beliefs and fundamental methodological controversies on the nature of equilibrium and on the role of time in economic theory. The article is published with comments written by other leading theoreticians.


2019 ◽  
pp. 22-29
Author(s):  
Н. В. Фрадкіна

The purpose and tasks of the work are to analyze the contemporary Ukrainian mass culture in terms of its value and humanistic components, as well as the importance of cultural studies and Ukrainian studies in educational disciplines for the formation of a holistic worldview of modern youth.Analysis of research and publications. Scientists repeatedly turned to the problems of the role of spirituality in the formation of society and its culture. This problem is highlighted in the publications by O. Losev, V. Lytvyn, D. Likhachev, S. Avierintsev, M. Zakovych, I. Stepanenko and E. Kostyshyn.Experts see the main negative impact of mass culture on the quality approach, which determines mass culture through the market, because mass culture, from our point of view, is everything that is sold and used in mass demand.One of the most interesting studies on this issue was the work by the representatives of Frankfurt School M. Horkheimer and T. Adorno «Dialectics of Enlightenment» (1947), devoted to a detailed analysis of mass culture. Propaganda at all socio-cultural levels in the form is similar in both totalitarian and democratic countries. It is connected, according to the authors, with the direction of European enlightenment. The tendency to unify people is a manifestation of the influence of mass culture, from cinema to pop. Mass culture is a phenomenon whose existence is associated with commerce (accumulation in any form – this is the main feature of education), in general, the fact that it exists in this form is related to the direction of the history of civilization.Modern mass culture, with its externally attractive and easily assimilated ideas and symbols, appealing to the trends of modern fashion, becomes a standard of prestigious consumption, does not require intense reflection, allows you to relax, distract, not teach, but entertains, preaches hedonism as the main spiritual value. And as a consequence, there are socio-cultural risks: an active rejection of other people, which leads to the formation of indifference; cruelty as a character trait; increase of violent and mercenary crime; increase in the number of alcohol and drug addicts; anti-patriotism; indifference to the values of the family and as a result of social orphanhood and prostitution.Conclusions, perspectives of research. Thus, we can conclude that modern Ukrainian education is predominantly formed by the values of mass culture. Namely, according to the «Dialectic» by Horkheimer and Adorno, «semi-enlightenment becomes an objective spirit» of our modern society.It is concluded that only high-quality education can create the opposite of the onset of mass culture and the destruction of spirituality in our society. It is proved that only by realizing the importance of cultivating disciplines in the educational process and the spiritual upbringing of the nation, through educational reforms, humanitarian knowledge will gradually return to student audiences.Formation of youth occurs under the influence of social environment, culture, education and self-education. The optimal combination of these factors determines both the process of socialization itself and how successful it will be. In this context, one can see the leading role of education and upbringing. It turns out that the main task of modern education is to spread its influence on the development of spiritual culture of the individual, which eventually becomes a solid foundation for the formation of the individual. Such a subject requires both philosophical and humanitarian approaches in further integrated interdisciplinary research, since the availability of such research will provide the theoretical foundation for truly modern educational and personal development.


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