scholarly journals The Phantasmagoric World of Thierry Mugler

2019 ◽  
Vol 2 (1) ◽  
pp. 1-13
Author(s):  
Julia Skelly
Keyword(s):  
Fine Arts ◽  
Music Videos ◽  
Feminist Art ◽  
Black And White ◽  
Complex Figure ◽  
Fashion Photography ◽  
New Strategy ◽  
The Many ◽  
World Premiere ◽  
Warrior Women

This review of Thierry Mugler: Couturissime approaches the exhibition through a feminist art-historical lens and attends to the various ways that both Mugler’s clothing and the Montreal Museum of Fine Arts’ curatorial team has framed and constructed the powerful, threatening woman as a complex figure who is hard, cold, sensual, strong, hard-working, and spectacular, among many other valences. The exhibition, which had its world premiere at the MMFA in March 2019, is organized as a fashion opera in six acts, and each room illuminates disparate yet interconnected parts of Mugler’s body of work: his costumes for a 1985 performance of Macbeth in Paris; the decadent and excessive clothing worn and worshipped by past and present celebrities; the black-and-white power dressing that Helmut Newton and others have canonized in fashion photography; the astounding creations inspired by insects and reptiles; and finally, the cyborgian fembots that have been presented in both Vogue and music videos. The inclusion of photographs and videos — not a new strategy in blockbuster fashion exhibitions — is essential to the success of Thierry Mugler: Couturissime, as they reveal that while these clothes are works of art, they were made to be worn and mobilized. Although not explicitly a feminist exhibition, for viewers who are looking for feminist, political inspiration wherever they can find it Mugler’s warrior women and formidable clothing — whether made of metal, latex or feathers — provide a powerful reminder that clothing is just one of the many weapons in our arsenal.

Sexually Degrading Music Videos and Lyrics

2012 ◽  
Vol 24 (1) ◽  
pp. 31-39 ◽  
Author(s):  
Eric L. Sprankle ◽  
Christian M. End ◽  
Miranda N. Bretz
Keyword(s):  
Undergraduate Students ◽  
Rape Myths ◽  
Music Videos ◽  
Sexual Content ◽  
Sexual Stereotypes ◽  
Male Undergraduate ◽  
The Media ◽  
The Many ◽  
Sexually Degrading ◽  
Music Lyrics

Utilizing a 2 (lyrics: present or absent) × 2 (images: present or absent) design, this study examined the unique effects of sexually degrading music videos and music lyrics on males’ aggressive behavior toward women, as well as males’ endorsement of rape myths and sexual stereotypes. Under the guise of a media memory study, 187 male undergraduate students were randomly assigned to one of four conditions. Despite the many psychological theories predicting an effect, the presentation of sexually degrading content in a visual or auditory medium (or combination thereof) did not significantly alter the participants’ aggression and self-reported endorsement of rape myths and sexual stereotypes. The null findings challenge the many corporate and governmental restrictions placed on sexual content in the media over concern for harmful effects.

Review of The Many Histories of Naqada: Archaeology and Heritage in an Upper Egyptian Region

2021 ◽  
Vol 57 (1) ◽  
Author(s):  
Axelle Brémont
Keyword(s):  
Black And White ◽  
The Many

Alice Stevenson & Joris van Wetering (eds.), The Many Histories of Naqada: Archaeology and Heritage in an Upper Egyptian Region. London: Golden House Publications, 2020. ISBN 9781906137694. Pp. Xviii + 171, 160 black and white illustrations. $120

scholarly journals Artistic and technical features of the lithographic manner mixed technique

2019 ◽  
pp. 92-98
Author(s):  
V. Vandаlovskyi
Keyword(s):  
Fine Arts ◽  
Technological Capabilities ◽  
Artistic Creativity ◽  
Black And White ◽  
Original Technique ◽  
The Rich ◽  
The Difference ◽  
Technical Features ◽  
Senior Students ◽  
Positive Results

Nowadays the problem of improving the artistic and technical features of the lithographic manner of mixed technique has matured already. The author of this study expanded and supplemented the ways of combining a variety of manners of lithographic techniques through practical experiments to achieve positive results in this area. Mixed technique is one of the types of lithography, in which a certain combination of lithographic manners engraving on stone with pencil, blurring ink, root paper, color lithography is used on one stone depending on the intent of the author, his artistic taste and possession of a large number of techniques in lithography, such as shading, sketching, blurring ink, pen, prints of cloth and other textures and the like. Lithography got the greatest spread in France, the gifted artists on stone included T. Géricault, Antoine-Jean Gros, Claude Joseph Vernet, Nicolas-Toussaint Charlet, O. Raffet, Ferdinand Victor Eugène Delacroix, Louis-Léopold Boilly, Paul Gavarni, Henri Grévedon, A. Toulouse-Lautrec and many others. Famous Ukrainian artists, namely M. Deregus, M. Popov, S. Yakutovich, and others worked in lithographic mixed technique. In particular, N. Popov in the creation of graphic works used the author's manner of execution of lithographs – drawing with acid. In artistic creativity to the main lithographic technique artists add elements of other graphic techniques: combine with etching, woodcut, monotype and other techniques. The program of teaching lithography in National Academy of Fine Arts and Architecture in methodical terms is designed so that the student of the specialty "Free graphics, design and illustration of the book", mastering lithographic technique and getting acquainted with her manners, could be able to do on this basis a mixed lithographic technique. Mixed technique is the final task, in which the student is given the opportunity to choose and combine the manners of lithography. Senior students improve their knowledge in the field of technical and technological capabilities of lithography. Due to the rich, original technique lithography has unlimited visual possibilities. It met the requirements of different artists, despite the difference in styles, language and artistic techniques. Lithography makes it possible to solve the composition in black and white, dashed, tonal, color techniques through the use of different manners.

Parallel Multi-Cycle LES of an Optical Pent-Roof DISI Engine Under Motored Operating Conditions

2017 ◽  
Author(s):  
Noah Van Dam ◽  
Wei Zeng ◽  
Magnus Sjöberg ◽  
Sibendu Som
Keyword(s):  
Experimental Data ◽  
Direct Injection ◽  
Operating Conditions ◽  
New Strategy ◽  
Long Time ◽  
Order Of Magnitude ◽  
Structure Index ◽  
Number Of Cycles ◽  
The Many ◽  
Direct Injection Spark Ignition

The use of Large-eddy Simulations (LES) has increased due to their ability to resolve the turbulent fluctuations of engine flows and capture the resulting cycle-to-cycle variability. One drawback of LES, however, is the requirement to run multiple engine cycles to obtain the necessary cycle statistics for full validation. The standard method to obtain the cycles by running a single simulation through many engine cycles sequentially can take a long time to complete. Recently, a new strategy has been proposed by our research group to reduce the amount of time necessary to simulate the many engine cycles by running individual engine cycle simulations in parallel. With modern large computing systems this has the potential to reduce the amount of time necessary for a full set of simulated engine cycles to finish by up to an order of magnitude. In this paper, the Parallel Perturbation Methodology (PPM) is used to simulate up to 35 engine cycles of an optically accessible, pent-roof Direct-injection Spark-ignition (DISI) engine at two different motored engine operating conditions, one throttled and one un-throttled. Comparisons are made against corresponding sequential-cycle simulations to verify the similarity of results using either methodology. Mean results from the PPM approach are very similar to sequential-cycle results with less than 0.5% difference in pressure and a magnitude structure index (MSI) of 0.95. Differences in cycle-to-cycle variability (CCV) predictions are larger, but close to the statistical uncertainty in the measurement for the number of cycles simulated. PPM LES results were also compared against experimental data. Mean quantities such as pressure or mean velocities were typically matched to within 5–10%. Pressure CCVs were under-predicted, mostly due to the lack of any perturbations in the pressure boundary conditions between cycles. Velocity CCVs for the simulations had the same average magnitude as experiments, but the experimental data showed greater spatial variation in the root-mean-square (RMS). Conversely, circular standard deviation results showed greater repeatability of the flow directionality and swirl vortex positioning than the simulations.

Martin Luther in the Age of Confessionalization

2017 ◽  
Author(s):  
Jens Wolff
Keyword(s):  
Roman Empire ◽  
Identity Politics ◽  
Public Discourse ◽  
Holy Roman Empire ◽  
Unintended Effects ◽  
Black And White ◽  
Before And After ◽  
History Of ◽  
The Many ◽  
The One

Luther was a point of reference in all three of the confessional cultures during the confessional age, though this was not something he had intended. His theological “self-fashioning” was not meant to secure, canonize, or stabilize his own works or his biography. Rather, he believed, and was convinced, that the hidden God rules in a strange way. He hides himself in the course of the world and realizes what we would have liked to realizes. Apart from this theological viewpoint, historiographic differentiation is needed: Luther had different impacts on each of the three confessions. Furthermore, one also has to differentiate between a deep impact and the unintended effects of Luther’s thinking. Luther was an extremely polarizing figure. From the beginning, he underwent a heroization and a diabolization by his contemporaries. Apart from this black-and-white reception of his person, it was, and still is, extremely difficult to analyze Luther, his work and medial effects. Historians have always been fixated on Luther: he was the one and only founder of Protestantism. His biography became a stereotype of writing and was an important element of Protestant (or anti-Protestant) identity politics. For some Protestants, his biography became identical with the history of salvation (Heilsgeschichte). For his enemies, his biography was identical with the history of the devil. In all historical fields, one has to differentiate between the different groups and people who protected or attacked Luther or shared his ideas. The history of Luther can only be written as a shared history with conflict and concordances: the so-called Anabaptists, for example, shared Luther’s antihierarchical ideal of Christian community, although on the other hand “they” were strongly opposed toward his theology and person. Luther or example, had conflicts with the humanists and with Erasmus especially; he argued about the Lord’s Supper with Zwingli, he criticized the Fuggers because of their financial transactions in an early capitalist society; and, last but not least, he was in conflict with the Roman Church. The legitimization of different pictures of Luther always depends upon the perspectives of the posterity: either Luther was intolerant against spiritualists, Anabaptists, or peasants who were willing to resort to violence; or he was defended by humanists like Sebastian Castellio for defending religious tolerance. During his lifetime Luther was an extremely polarizing figure. Hundreds of pro-Lutheran and polemical anti-Lutheran leaflets or texts were published. The many literary forms of parody, satire, caricature, the grotesque, and the absurd were cultivated during the confessional age. Luther’s biography was often used by Lutheran theologians as an instrument of heroization and identity politics in public discourse. Historically, one can differentiate between the time before and after Luther. The political and religious unity of the Holy Roman Empire was strongly disturbed, if not broken, through the Reformation. The end of the Universalist dreams of universal powers like theology and politics (pope and emperor) were some of the central preconditions for political, cultural, and theological differentiation of Europe. Religious differentiation was one of the unintended effects of theology and the interpretation of the scripture. Decades after Luther’s death, the Holy Roman Empire slowly and surprisingly turned into a poly-, multi- and interconfessional society.

scholarly journals Fine Arts: 1. Art During the Transition Period Between Paleolithic and Neolithicon the Territory of Romania

2018 ◽  
Vol 16 (1) ◽  
pp. 165-173
Author(s):  
Ioana-Iulia Olaru
Keyword(s):  
Transition Period ◽  
Fine Arts ◽  
Final Phase ◽  
Neolithic Culture ◽  
History Of Art ◽  
History Of ◽  
The Many ◽  
The One ◽  
Mesolithic Period ◽  
Great Complexity

Abstract This material refers to one of the many transition periods from the History of Art on the territory of Romania - that is the period which separates Paleolithic from Neolithic: Epi-Paleolithic, with its endcalled (and accepted, first of all!) by some researchers: Mesolithic. As we will see, we will refer to the art of this moment of great complexity and diversity. From an artistic pointof view, Epi-Paleolithic already has tools which can be placed in the category of technical beauty, as far as form is concerned, precision becomes more and more important,and also the skillfulness of their production and the delicate, refined finishing; also connected to the artistic side of the period, the interest for beauty for creating geometrical-abstract decorations increases, obviously becoming a coherent ornamental motif. In the final phase of Epi-Paleolithic, the Mesolithic period comes with an art which is different from the one of the culture Schela Cladovei, characterized by ornaments with simple geometrical motifs, liniar incisions, oblique or in a network, this geometry leading to the main compositional textures of decoration of the oldest phase of the future Neolithic culture Criș.

scholarly journals Tutti cantano Yi Dai Yi Lu? La popolarizzazione del discorso politico sulla Nuova Via della Seta

2018 ◽  
Vol 1 (1) ◽  
Author(s):  
Emma Lupano
Keyword(s):  
International Cooperation ◽  
Political Discourse ◽  
Silk Road ◽  
Music Videos ◽  
Institutional Discourse ◽  
Belt And Road ◽  
The Many ◽  
Ancient Silk Road ◽  
The Belt And Road

The Belt and Road (BRI) Forum for International Cooperation, held in Beijing in May 2017, was the first event to gather official representatives from almost 60 countries in the name of China’s project to re-enliven the spirit of the ancient Silk Road. Before and during the Forum, music videos were released online, promoting the benefits that the BRI would bring to the many populations involved, reproducing keywords from the institutional discourse on the initiative. Institutionally-inspired music videos and cartoons have become growingly common in the Chinese cyberspace since 2013, with the aim to promote the CCP’s political message among younger citizens. Drawing on the analysis of the videos released in relation to the Belt and Road Forum, the contribution discusses the role of such products in the popularisation of the CCP’s political discourse towards national and international audiences.

Four-Hand Piano Transcription and Geographies of Nineteenth-Century Musical Reception

1999 ◽  
Vol 52 (2) ◽  
pp. 255-298 ◽  
Author(s):  
Thomas Christensen
Keyword(s):  
Nineteenth Century ◽  
Domestic Space ◽  
The Public ◽  
Black And White ◽  
Orchestral Works ◽  
Piano Transcriptions ◽  
Musical Works ◽  
The Public Sphere ◽  
The Many ◽  
Musical Reception

Throughout the nineteenth century, massive quantities of four-hand piano transcriptions were published of virtually every musical genre. Indeed, no other medium before the advent of the radio and phonograph was arguably so important for the dissemination and iterability of concert and chamber repertories. Yet such transcriptions proved to be anything but innocent vehicles of translation. Not only did these four-hand arrangements offer simplified facsimiles of most orchestral works blanched of their instrumental timbres (a result that was often compared to the many reproductive engravings and black-and-white lithographs of artworks that were churned out by publishers at the same time); such arrangements also destabilized traditional musical divisions between symphonic and chamber genres, professional and amateur music cultures, and even repertories gendered as masculine and feminine. By bringing music intended for the public sphere of the concert hall, opera house, and salon into the domestic space of the bourgeois home parlor, the four-hand transcription profoundly altered the generic identity and consequent reception of musical works.

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