scholarly journals A comunicação espacial e sua materialização nas artes visuais brasileira / The Spatial Communication and its Materialization in Brazilian Visual Arts

2016 ◽  
Vol 3 (2) ◽  
pp. 153-164
Author(s):  
Miguel Gally
Keyword(s):  
Visual Arts ◽  
Spatial Communication

ABSTRACTReflections on the foundations and development of a tradition in Brazilian visual arts: the materialization of a non discursive spatial communication through some artworks from Hélio Oiticica (1937-1980), Ernesto Neto (1964-), and Maurício Panella (1973-).RESUMOReflexões sobre os fundamentos e desenvolvimento de uma tradição nas artes visuais brasileira: a materialização de uma comunicação espacial não discursiva a partir de algumas obras de Hélio Oiticica (1937-1980), Ernesto Neto (1964-) e Maurício Panella (1973-).

Shakespeare and the Visual Arts

2019 ◽  
pp. 1861-1906
Author(s):  
Stuart Sillars
Keyword(s):  
Visual Arts

Skill transfer in visual arts expertise.

2016 ◽  
Vol 10 (2) ◽  
pp. 147-156 ◽  
Author(s):  
Bonnie L. Angelone ◽  
Richard W. Hass ◽  
Marissa Cohen
Keyword(s):  
Visual Arts ◽  
Skill Transfer

Why A Doc With a Dip Doc?

2011 ◽  
Vol 1 (1) ◽  
pp. 30-34
Author(s):  
Catherine Morley
Keyword(s):  
Nutrition Education ◽  
Visual Arts ◽  
Documentary Film ◽  
Eating Behaviour ◽  
Knowledge And Skills ◽  
Time Out ◽  
Power Differentials ◽  
Research Findings

In 2007, when I began studies toward two diplomas, one in textile arts, and one in documentary film this seeming ‘change of focus’ prompted questions from dietetics and research colleagues: Was I changing careers? What did visual arts and film have to do with dietetics and research? In addition to personal reasons for these studies, I wanted ‘time out’ from consulting and research to develop my knowledge and skills in these artforms, and to explore them as means to broaden the reach of research findings. In this article, I discuss the potential for film and visual arts in dietetics practice and education. Arts-based inquiry and practice offer ways to disrupt power differentials, to question what counts as knowledge and whose/what voices ought to count, to invite reflections on and conversations about meanings imbedded in food and in eating behaviour, and to integrate this knowledge into collaborative, client-centred approaches to nutrition education.

Diaghilev and British Writing

2009 ◽  
Vol 27 (1) ◽  
pp. 65-92
Author(s):  
Susan Jones
Keyword(s):  
Visual Arts ◽  
The Body ◽  
The Novel ◽  
Literary Responses ◽  
Literary Aesthetics ◽  
Ballets Russes ◽  
The Arts ◽  
The Subject ◽  
And Gender ◽  
Opening Up

This article explores the diversity of British literary responses to Diaghilev's project, emphasising the way in which the subject matter and methodologies of Diaghilev's modernism were sometimes unexpectedly echoed in expressions of contemporary British writing. These discussions emerge both in writing about Diaghilev's work, and, more discretely, when references to the Russian Ballet find their way into the creative writing of the period, serving to anchor the texts in a particular cultural milieu or to suggest contemporary aesthetic problems in the domain of literary aesthetics developing in the period. Figures from disparate fields, including literature, music and the visual arts, brought to their criticism of the Ballets Russes their individual perspectives on its aesthetics, helping to consolidate the sense of its importance in contributing to the inter-disciplinary flavour of modernism across the arts. In the field of literature, not only did British writers evaluate the Ballets Russes in terms of their own poetics, their relationship to experimentation in the novel and in drama, they developed an increasing sense of the company's place in dance history, its choreographic innovations offering material for wider discussions, opening up the potential for literary modernism's interest in impersonality and in the ‘unsayable’, discussions of the body, primitivism and gender.

Gilles Deleuze's Luminous Philosophy

2020 ◽  
Author(s):  
Hanjo Berressem
Keyword(s):  
Projective Plane ◽  
Visual Arts ◽  
Whole Body ◽  
Literary Studies ◽  
Chronological Order ◽  
Real Projective Plane ◽  
Cinema Studies ◽  
The Real

Providing a comprehensive reading of Deleuzian philosophy, Gilles Deleuze’s Luminous Philosophy argues that this philosophy’s most consistent conceptual spine and figure of thought is its inherent luminism. When Deleuze notes in Cinema 1 that ‘the plane of immanence is entirely made up of light’, he ties this philosophical luminism directly to the notion of the complementarity of the photon in its aspects of both particle and wave. Engaging, in chronological order, the whole body and range of Deleuze’s and Deleuze and Guattari’s writing, the book traces the ‘line of light’ that runs through Deleuze’s work, and it considers the implications of Deleuze’s luminism for the fields of literary studies, historical studies, the visual arts and cinema studies. It contours Deleuze’s luminism both against recent studies that promote a ‘dark Deleuze’ and against the prevalent view that Deleuzian philosophy is a philosophy of difference. Instead, it argues, it is a philosophy of the complementarity of difference and diversity, considered as two reciprocally determining fields that are, in Deleuze’s view, formally distinct but ontologically one. The book, which is the companion volume toFélix Guattari’s Schizoanalytic Ecology, argues that the ‘real projective plane’ is the ‘surface of thought’ of Deleuze’s philosophical luminism.

: George Eliot and the Visual Arts. . Hugh Witemeyer.

1979 ◽  
Vol 34 (2) ◽  
pp. 217-220
Author(s):  
Jean H. Hagstrum
Keyword(s):  
Visual Arts ◽  
George Eliot

: Henry James and the Visual Arts . Viola Hopkins Winner.

1971 ◽  
Vol 26 (2) ◽  
pp. 239-242
Author(s):  
Robert Falk
Keyword(s):  
Visual Arts ◽  
Henry James
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