Moving Forward by Looking Back

2016 ◽  
pp. 162-187
Author(s):  
Christopher Totten
Keyword(s):  
Art History ◽  
Design History ◽  
Game Development ◽  
Art And Design ◽  
Current State ◽  
Game Mechanics ◽  
History Of ◽  
Looking Back ◽  
Historical Art

This chapter explores art history to establish parallels between the current state of the game art field and historical art and architectural periods. In doing so, it proposes methods for both making and studying games that subvert the popular analysis trends of game art that are typically based on the history of game graphics and technology. The chapter will then demonstrate the use of art and design history in game development by discussing the Atelier Games project, which utilizes the styles and techniques of established artists and art movements to explore the viability of classic methods for the production of game art and game mechanics.

A Feeling for Things, Past and Present

2018 ◽  
Author(s):  
Stephanie Downes ◽  
Sally Holloway ◽  
Sarah Randles
Keyword(s):  
The State ◽  
Literary Studies ◽  
Design History ◽  
Material World ◽  
Art And Design ◽  
History Of Emotions ◽  
Critical History ◽  
History Of ◽  
State Of The Field

This chapter gives an overview of the state of cross-disciplinary research into objects and emotions. It considers major intellectual works from the fields of archaeology, anthropology, art and design history, history, literary studies, philosophy, and psychology from the perspective of the history of emotions, in order to assess which current major directions in these fields may be most useful for those seeking to write affective histories of the material world. By investigating the critical history of objects and emotions and reflecting on the state of the field today, the authors offer an interdisciplinary frame for the essays that follow, outlining various methodologies and their implications for emotions research in the humanities in general.

scholarly journals Editorial

2016 ◽  
pp. 2-3
Author(s):  
Alan Cocker
Keyword(s):  
New Zealand ◽  
Cultural History ◽  
Editorial Team ◽  
Design History ◽  
Art And Design ◽  
Perceived Need ◽  
University Of Technology ◽  
History Of ◽  
Design Production ◽  
The University

It is a pleasure to be able to introduce the first issue of BackStory. The idea behind this journal is to provide a medium for those interested in ‘looking back’ at New Zealand’s art, media and design history. These are the stories that lie behind current media, art and design production and practice in this country. It is envisaged that this new journal will provide an opportunity to explore our rich heritage in these fields. In part the motivation to launch a new journal is to meet a perceived need. The country presently does not have a journal which has the focus envisaged for BackStory. The Journal of New Zealand Art History (JoNZAH) was last published in 2012/13 and its absence has meant that those interested in reading and writing about this aspect of our cultural history lost a valued publication. The editorial team has approached the Hocken Library who provided editorial and production input for the JoNZAH and gained their support for the BackStory initiative. It is acknowledged that the new journal is not a re-launch or continuation of the JoNZAH. Instead, BackStory: Journal of New Zealand Art, Media and Design History, seeks to broaden the scope of its predecessor to include media and design history. The editorial teamhope that those who valued the JoNZAH will find value in this journal as a worthy successor.The initial editorial team for BackStory is drawn from the Auckland University of Technology (AUT) and an Editorial Advisory Board has been established. The establishing editorial team are Minna Pesonen (Designer), Rosemary Brewer, Alan Cocker and Peter Hoar from the School of Communication Studies, Peter Gilderdale from the School of Art & Design and Simon Mowatt from the Faculty of Business. It is the hope of this team that BackStory has an appeal beyond academia and will inspire contributions from those working in this country’s libraries, galleries and museums as well as others who have an interest in the history of New Zealand art, design, photography and media. We are pleased that this first issue contains contributions from curators at the Auckland Museum and Te Papa, and that there is a wide representation of different material drawn from across the target disciplines. Our hope is that the quality of the research and writing, and the common New Zealand focus will entice readers into crossdisciplinary explorations. All submissions except commentaries will be blind peer reviewed by two reviewers to conform to university research publication standards but we are seeking contributions that will have an appealbeyond the university. In the so-called online age the decision to publish a printed form is deliberate. The editorial team are seeking the highest print production standards conscious of the artifact value of this journal.

Transnational Feminisms and the Decolonisation of the History of Art

2020 ◽  
pp. 1-8
Keyword(s):  
Art History ◽  
Transnational Feminism ◽  
Comprehensive Overview ◽  
Historical Scholarship ◽  
Current State ◽  
History Of Art ◽  
History Of

This chapter discusses the aim and objectives of the volume by way of addressing the recent debates in the discipline of art history. The two main themes that comes through from this discussion are the current efforts of decolonising the curriculum of art history and the discipline itself, and the ongoing challenges to art history and its canon particularly coming from the perspectives of transnational feminism and postcolonialism. This introductory chapters draws upon scholars whose studies have been key to these discussions, including Okwui Enwezor, Nada Shabout, James Elkins and Chandra Talpade Mohanty, providing a comprehensive overview of the current state and relevance of them to the volume. This chapter ends with an explanation of how each section and chapters contribute to these debates and what novelties they bring into art historical scholarship.

scholarly journals TRADITIONS OF POLTAVA CARPET WEAVING IN THE ARTISTIC CULTURE OF UKRAINE

2021 ◽  
Vol 6 (42) ◽  
pp. 217
Author(s):  
Y. Harkovyna
Keyword(s):  
Art History ◽  
Design History ◽  
Art Theory ◽  
Western Asia ◽  
History Of ◽  
Baroque Era ◽  
The Subject ◽  
Historical Comparative ◽  
The Aesthetic ◽  
Ukrainian Society

The subject of the research is the traditions of making carpets from the Poltava region. The purpose of the work is to determine the artistic components of the development of Poltava carpet in the artistic culture of Ukraine of the XVIII – early XXI centuries. The methodology of work is based on a combination of the principle of scientific reliability and comprehensiveness, art history, cultural and design approaches, as well as axiological, ontological, hermeneutic, historical-genetic, comparative (historical-comparative), cultural, formal-stylistic and methodological analysis of art. The results of the work are designed to summarize the data on the traditional foundations of the classic Poltava carpet. Scope of results – today's artistic practices related to ethnic design, history of decorative and applied arts and art culture of Poltava region, art theory in the field of lordly, monastic and home carpets, creation of electronic courses for students and graduate students of creative specialties, development of educational sites and articles for encyclopedic and reference publications. Conclusions. It has been found that Poltava carpet weaving has ancient artistic traditions, rooted in the Baroque era. It is outlined that the techniques of making local carpets have not changed significantly during the last three hundred years, starting with the well-known carpet of Hetman Danylo Apostol. It is specified that the traditional lint-free carpets of Poltava began to be made not later than at the beginning of the XVIII century, when the aesthetic requirements of the then Ukrainian society appealed to the theory of Sarmatism with the corresponding vectors of oriental models to Western Asia and the Middle East. The connection of patterns of Poltava carpets of Ukraine of the XVIII – early XX centuries with ornamental and plot prototypes of European weaving centers in France of the Baroque-Empire period – Aubusson and Savoneri, which was in fashion for decor elements appealing to great European historical styles.Key words: carpet weaving, Poltava region, Reshetylivka, Ukraine, XVIII – beginning of XXI centuries.

The art library – a moving target

1995 ◽  
Vol 20 (2) ◽  
pp. 13-17
Author(s):  
Paul Greenhalgh
Keyword(s):  
Art History ◽  
Direct Interaction ◽  
Primary Source ◽  
Moving Target ◽  
Art Students ◽  
Art And Design ◽  
The United Kingdom ◽  
Wide Range ◽  
History Of

Art libraries are plural entities in that they have multiple functions and serve a variety of users. In the United Kingdom, as elsewhere, academic art libraries provide visual resources for artists and art students; they also provide a wide range of texts for students of increasingly specialised branches of the history of art and design and of ‘visual studies’. Their librarians should collaborate with academic colleagues to develop the library to serve the institution’s needs; at the same time the institution should recognise the role of the library. The broader spectrum represented by the ‘new art history’ challenges the art library to widen its scope, although this must be done through networking as well as by means of collection development. Scholars realise that they must generally expect to have to go to the major libraries and archives for primary source material, although smaller art libraries often have valuable materials and some scholars might be encouraged to share their own research collections through the libraries of their institutions. Information technology has become the key to tracing material, but is no substitute for direct interaction with the materials themselves.

Integration of traditional and innovation processes of development of modern science

2020 ◽  
Keyword(s):  
Social Psychology ◽  
Art History ◽  
Modern Science ◽  
Educational Management ◽  
Postgraduate Students ◽  
Current State ◽  
Social Communications ◽  
History Of ◽  
Wide Readership ◽  
Innovation Processes

The collective monograph describes the integration of traditional and innovation processes of development of modern science. The general issues of the history of pedagogy, theory and methods of teaching, vocational education and educational management, the current state of philological research, social psychology, social communications, historical sciences, culturology, art history etc. are considered. The publication is intended for scholars, teachers, postgraduate students, and students, as well as a wide readership.

‘Immersed in Art’: Engaged learning in art and design history

2021 ◽  
Vol 17 (2) ◽  
pp. 235-252
Author(s):  
Lisa Chandler ◽  
Alistair Ward ◽  
Lisa Ward
Keyword(s):  
Deep Learning ◽  
Active Learning ◽  
Art History ◽  
Learning Design ◽  
Multimodal Learning ◽  
Design History ◽  
Engaged Learning ◽  
Immersive Environments ◽  
Art And Design ◽  
Student Comprehension

Established approaches to art history pedagogy typically involve a primarily passive form of instruction incorporating the viewing of works projected on screens. While such approaches can convey valuable information, they can also contribute to student disengagement and do not necessarily support deep learning. This article examines three learning initiatives incorporating an immersive teaching space to determine how these forms of technology-enhanced active learning might enhance student comprehension and engagement. The article considers how learning design incorporating the affordances of such immersive environments can provide multimodal learning experiences that stimulate student imaginations and support learning and engagement in a manner that complements rather than replaces traditional modes of instruction.

What's the Message of Architecture?

2014 ◽  
pp. 126-136
Author(s):  
Аndrey G. Velikanov
Keyword(s):  
Separate Entity ◽  
Aesthetic Value ◽  
Current State ◽  
Entire Complex ◽  
History Of ◽  
The Aesthetic

Considers the aspects of architecture as a language able to express the current state and to prophetically indicate the upcoming changes. The aesthetic value of a construction cannot be perceived just as a separate entity, but it can be cognized in the context and not only a visual one, in space. It is necessary to see the entire complex of the accompanying phenomena, all the flow of the unfolding metaphors and values. In the model in view the figure of the author-creator must be reconsidered as no longer conforming to today's reality. The development of the Stalinist Empire style, as well as its transformations, is considered as one of the specific phenomena in the history of well-known constructions

National Institute of Art and Design named after Kamoliddin Behzod

2019 ◽  
Vol 5 (4) ◽  
pp. 104-108
Author(s):  
Dilzoda Alimkulova
Keyword(s):  
20Th Century ◽  
Art And Design ◽  
Avant Garde ◽  
History Of ◽  
20Th Century Art

The art of Uzbekistan of the first decade of 20th century (1920-30s) is worthily recognized as the brightest period in history of Uzbek national art. We may observe big interest among the artwork which was created during the years of Independence of Uzbekistan towards the art of 20th century and mainly it may be seen in form, style, idea and semantics. Despite the significant gap between the 20th century art tendencies and Independence period, there is very big influence of avant-garde style in works of such artists as Javlon Umarbekov, Akmal Ikramjanov, Alisher Mirzaev, Tokhir Karimov, Daima Rakhmanbekova and others.

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