The Healing Power of Art: Works of art by Haitian children

2021 ◽  
pp. 269-274
Author(s):  
Deborah Stokes
Keyword(s):  
Works Of Art ◽  
Art Works ◽  
Healing Power

Art works, ontology of

2018 ◽  
Author(s):  
Gregory Currie
Keyword(s):  
Standard View ◽  
Nelson Goodman ◽  
Works Of Art ◽  
Starting Point ◽  
Art Works ◽  
Musical Scores ◽  
Musical Works ◽  
History Of ◽  
Physical Objects ◽  
Ontology Of Art

In trying to decide what kinds of thing art works are, the most natural starting point is the hypothesis that they are physical objects. This is plausible only for certain works, such as paintings and sculptures; in such cases we say that the work is a certain marked canvas or piece of stone. Even for these apparently favourable cases, though, there is a metaphysical objection to this proposal: that works and the physical objects identified with them do not possess the same properties and so cannot be identical. There is also an aesthetic objection: that the plausibility of the thesis for painting and sculpture rests on the false view that the authentic object made by the artist possesses aesthetically relevant features which no copy could possibly exemplify. Once it is acknowledged that paintings and sculptures are, in principle, reproducible in the way that novels and musical scores are, the motivation for thinking of the authentic canvas or stone as the work itself collapses. For literary and musical works, the standard view is that they are structures: structures of word-types in the literary case and of sound-types in the musical case. This structuralist view is opposed by contextualism, which asserts that the identity conditions for works must take into account historical features involving their origin and modes of production. Contextualists claim that works with the same structure might have different historical features and ought, therefore, to count as distinct works. Nelson Goodman (1981) has proposed that we divide works into autographic and allographic kinds; for autographic works, such as paintings, genuineness is determined partly by history of production: for allographic works, such as novels, it is determined in some other way. Our examination of the hypothesis that certain works are physical objects and our discussion of the structuralist/contextualist controversy will indicate grounds for thinking that Goodman’s distinction does not provide an acceptable categorization of works. A wholly successful ontology of art works would tell us what things are art works and what things are not; failing that, it would give us identity conditions for them, enabling us to say under what conditions this work and that are the same work. Since the complexity of the issues to be discussed quickly ramifies, it will be appropriate after a certain point to consider only the question of identity conditions. For simplicity, this entry concentrates on works of art that exemplify written literature, scored music and the plastic and pictorial arts.

scholarly journals PERKEMBANGAN KONSEP KRIYA

Imaji ◽  
2010 ◽  
Vol 1 (1) ◽  
Author(s):  
B muria Zuhdi
Keyword(s):  
The Past ◽  
Works Of Art ◽  
Art Works ◽  
Key Word ◽  
Basket Weaving ◽  
Traditional Arts ◽  
Point Of Departure

Abstract The term kriya, which refers to the art utilizing the materials of crafts Like basket weaving, pottery, etc., can be discussed not only in the context of past art works (referring particularly, in this case, to the classical or traditional works of this art) but also in the context of those that look new and different from the ones from the past. For that reason, this reference to time - past and present - is the point of departure in this article. A reference to time contains a historic aspect. What is meant in this writing is none other than the movement based on the intention of creating art works which are new in character but using as their sources the traditional arts of Indonesia. This is the movement that has eventually given birth to or revived the aforementioned term for the art concerned here, has at the same time distinguished present from past works of this art, and has as simultaneously distinguished those works of art from mere handicrafts. Key Word: kriya

scholarly journals Karya Seni Kayu di Desa Busungbiu, Kecamatan Busungbiu, Kabupaten Buleleng

2017 ◽  
Vol 7 (2) ◽  
Author(s):  
Komang Marta Wira Miharja . ◽  
Dr.Drs.I Ketut Sudita, M.Si . ◽  
Drs. Gede Eka Harsana Koriawan, M.Erg .
Keyword(s):  
Qualitative Approach ◽  
Support Materials ◽  
Descriptive Research ◽  
Works Of Art ◽  
Art Works ◽  
Teak Wood ◽  
The Subject ◽  
Wood Art ◽  
Grinding Machine ◽  
The Village

Penelitian ini bertujuan untuk memperoleh informasi tentang: (1) Bahan dan alat yang digunakan dalam membuat karya seni kayu di Desa Busungbiu Kecamatan Busungbiu, Kabupaten Buleleng. (2)Proses pengolahan akar kayu di Desa Busungbiu, Kecamatan Busungbiu,Kabupaten Buleleng (3)Bentuk karya seni akar kayu di Desa Busungbiu, Kecamatan Busungbiu, Kabupaten Buleleng. Penelitian ini merupakan penelitian deskriptif dengan pendekatan kualitatif. Subjek penelitian ini adalah pemilik dan pengrajin kayu di Desa Busungbiu , Kecamatan Busungbiu, Kabupaten Buleleng. Pengumpulan data dalam penelitian ini dilakukan dengan teknik, observasi, wawancara, dokumentasi, dan kepustakaan. Analisis data yang digunakan adalah (1) analisis domain dan (2) analisis taksonomi. Hasil penelitian ini adalah: (1) Bahan yang di gunakan dalam Pembuatan Karya Seni Kayu yaitu bahan baku akar kayu : akar kayu jati, akar kayu intaran, akar kayu mangga, akar kayu jabon. Bahan penunjang: Kapur. Alat yang digunakan dalam pembuatan karya seni akar kayu, antara lain : Gergaji mesin, mesin gerinda, cekrek (mata gerinda berupa pahat), mata gerinda amplas. (2) Proses pembuatan Karya Seni Kayu diawali dengan proses menentukan bahan, proses pembuatan sketsa, proses pembentukan global, proses pembentukan dan mencoak. (3) Bentuk karya seni :bentuk kontemporer mengikuti bentuk akar kayu yang di gunakan dalam bentuk abstrak yang menyerupai angka 69, bentuk hati, bentuk tribal, bentuk termbu karang, bentuk daun, bentuk angka 88. Kata Kunci : Kata kunci: karya seni , akar kayu, seni rupa This research aims to obtain information about: (1) the ingredients and the tools used to create the works of art the wood in the village of Busungbiu Busungbiu, Buleleng Regency. (2)processing the root of the wood in the village of Busungbiu, Busungbiu,Buleleng Regency (3)form of the works of art the root of the wood in the village of Busungbiu, Busungbiu, Buleleng Regency. This research is a descriptive research with qualitative approach. The subject of this research is the owner and craftsmen art wood in the village of Busungbiu , Busungbiu, Buleleng Regency. Data Collection in this research done with the technique, observation, interview, documentation, and literature. The instrument used is (1) the instrument of observation, interview instrument, instruments documentation and bibliographical instruments. Analysis of the data used is (1) domain analysis and (2) taxonomy analysis. The results of this research are: (1) the material in use in the making of the Art Works wood namely raw wood root : root teak wood intaran, roots, root wood, mango wood jabon roots. Support materials: chalk. The tools used in the making of the art works root wood, among others : Saws, machine grinding machine, cekrek (eyes grinding in the form of sculpture), the eyes of the grinding abrasives, . (2) the process of making the Art Works wood begins with the process of determining the ingredients, making process of etching, the process of the formation of a global process of formation and mencoak. (3) the form of the art works wood, contemporary form follow the root form of wood in use in the form of abstract that resembles the number 69, the form of the heart, the form of tribal, form termbu coral reefs, leaf structure, Numbers 88. keyword : Key Words: art work , the root wood, art

Langer, Susanne Katherina Knauth (1895–1985)

2018 ◽  
Author(s):  
Peg Brand
Keyword(s):  
Philosophy Of Mind ◽  
Philosophy Of Language ◽  
Semantic Theory ◽  
Works Of Art ◽  
Art Works

With roots in logic, philosophy of language and philosophy of mind, Susanne Langer sought to explicate the meaning and cognitive import of art works by developing a theory of symbolism that located works of art at the centre of a network of relations based firmly on semantic theory. Art works were non-discursive, presentational symbols that expressed an artist’s ‘life of feeling’, by which observers, through a process of immediate apprehension (or intuition) came to acquire knowledge.

Artistic expression

2018 ◽  
Author(s):  
Stephen Davies
Keyword(s):  
Artistic Expression ◽  
Direct Access ◽  
Psychological State ◽  
Musical Work ◽  
Works Of Art ◽  
Expression Of Emotion ◽  
Art Works ◽  
Central Case ◽  
Special Knowledge ◽  
Sentient Beings

Many kinds of psychological state can be expressed in or by works of art. But it is the artistic expression of emotion that has figured most prominently in philosophical discussions of art. Emotion is expressed in pictorial, literary and other representational works of art by the characters who are depicted or in other ways presented in the works. We often identify the emotions of such characters in much the same way as we ordinarily identify the emotions of others, but we might also have special knowledge of a character’s emotional state, through direct access to their thoughts, for instance. A central case of the expression of emotion by works of art is the expression of emotion by a purely musical work. What is the source of the emotion expressed by a piece of music? While art engages its audience, often calling forth an emotional response, its expressiveness does not consist in this power. It is not because an art work tends to make us feel sad, for instance, that we call it sad; rather, we react as we do because sadness is present in it. And while artists usually contrive the expressiveness of their art works, sometimes expressing their own emotions in doing so, their success in the former activity does not depend on their doing the latter. Moreover, the expressiveness achieved has an immediacy and transparency, like that of genuine tears, apparently at odds with this sophisticated, controlled form of self-expression. It is because art presents emotion with simple directness that it can be a vehicle for self-expression, not vice versa. But if emotions are the experiences of sentient beings, to whom do those expressed in art belong if not to the artist or audience? Perhaps they are those of a fictional persona. We may imagine personae who undergo the emotions expressed in art, but it is not plain that we must do so to become aware of that expressiveness, for it is arguable that art works present appearances of emotions, as do masks, willow trees and the like, rather than outward signs of occurrent feelings. Expressiveness is valuable because it helps us to understand emotions in general while contributing to the formation of an aesthetically satisfying whole.

scholarly journals Figuratively Semantic Analysis of Works of Art

2021 ◽  
Author(s):  
Valerijs Makarevičs ◽  
◽  
Dzintra Ilisko ◽  
Keyword(s):  
Semantic Analysis ◽  
Life Experience ◽  
Van Gogh ◽  
Works Of Art ◽  
Symbolic Method ◽  
Art Works ◽  
Depth Study ◽  
Psychology Of Art

Topicality of the study is related to the in-depth study of the art of works of Van Gogh, Velázquez and Repin by relating art to the biography of these authors. The aim of the study is to explore the symbolism and the biography of the painters using the examples of analysis from the works of Van Gogh, Velasquez, and Repin and also to determine the conditions that contribute to the awareness of the process of perception and understanding of paintings. The methodology of this study is figuratively symbolic method used with the purpose to compare the plots of the art and to relate them to the life experience of their creators. Results obtained and the most important conclusions: This is important for the author of a painting to convey his/her thoughts and feelings to the viewer. Still, there remains a problem. The author uses the language of the image and symbol, which the viewer needs to reveal. Psychology of art offers two main options for solving this problem. The essence of the first option which is the ability of the painter to direct the viewer's sight. It is called the Dutch approach. The second approach to the analyses of art is called the Italian approach. In this case this is important to understand the symbolism and knowledge gained historically by relating one’s art works to the biography of the painter. The authors of this article focus on the second approach by illustrating it with examples of analysis from the works of Van Gogh, Velázquez, and Repin. The results of this study might be of interest for those who are interested in arts and psychology.

scholarly journals The Artistic Scene of Richard Prince

2020 ◽  
Vol 1 (3) ◽  
Author(s):  
Binwen Zeng
Keyword(s):  
Personal Identity ◽  
Modern Society ◽  
Cultural Criticism ◽  
Works Of Art ◽  
Art Works ◽  
The 1950S ◽  
The Masses ◽  
The Way

Richard Prince is an important artist born in the 1950s. His re-photography works are quite controversial. However, as for Richard Prince, re-photography is just the way to practice his works of art although these art works are often labeled as "photography" in that time. Indeed, it is necessary for him to accomplish his art works by using re-photography (a pure skill) rather than intentionally completing a photographic work. From the perspective of social and cultural criticism, Prince’s works are not so obscure and rebellious. His art works are mainly concerned with media, advertising and personal identity in the modern society. A series of controversies around Prince reflect the conflict of different tastes between the masses and the elite.

For this Relief, Much Thanks ...

2018 ◽  
Author(s):  
Johan Mattelaer
Keyword(s):  
Physiological Activity ◽  
Background Information ◽  
Early Age ◽  
Time And Space ◽  
Men And Women ◽  
Works Of Art ◽  
Art Works ◽  
Art Forms ◽  
The Way

Even though peeing is something we all do several times a day, it is still a taboo subject. From an early age, we are taught to master our urinary urges and to use decent words for this most necessary physiological activity. This paradox has not gone unnoticed by artists through the ages. For this Relief, Much Thanks! Peeing in Art is a journey through time and space, stopping along the way to look at many different art forms. The reader-viewer will see how peeing figures - men and women, young and old, human and angelic - have been depicted over the centuries. You will be amazed to discover how often, even in famous works of art, you can find a man quietly peeing in a corner or a putto who is 'irrigating' some grassy field. A detail you will never have seen before, but one that you will never forget when confronted with those same art works in future! Artists have portrayed pee-ers in a variety of different ways and for a variety of different reasons: serious, frivolous, humorous, to make a protest, to make a statement... Whatever their purpose, these works of art always intrigue, not least because of their secret messages and symbolic references, which sometimes can only be unravelled by an expert - like the author of this book. The extensive background information about the artists and their work also gives interesting insights into the often complex origins of the different art forms. In short, a fascinating voyage of discovery awaits you!

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