scholarly journals Aarup 1960 and the poetics of materials

2021 ◽  
Vol 14 (4) ◽  
Author(s):  
Liv Mildrid Gjernes
Keyword(s):  
Cognitive Processes ◽  
Critical Reflection ◽  
Artistic Expression ◽  
Creative Work ◽  
Original Works ◽  
The Senses

All design has its own conditional modes of expression; however, these are realised through the maker’s sense of the possibilities of materiality. This essay was inspired by a reclaimed piece of 1960s furniture designed in the modernist idiom, and is based upon autobiographical experiences, original works from own and contemporary aesthetic practices, and associated thoughts in the present. A completely new artistic expression was developed, which questioned the strict, use-defined style ideals and let shape reveal other values and statements than function. The intention of this essay is to put into words some of the cognitive processes in which creativity, critical reflection and the senses’ experience-based insights may bring up something new. In creative work, the goal is not to reach a single result; every little discovery made by examining something specific could open up new worlds.

scholarly journals Aarup 1960 and the poetics of materials

2019 ◽  
Vol 2 (1) ◽  
Author(s):  
Liv Mildrid GJERNES
Keyword(s):  
Cognitive Processes ◽  
Critical Reflection ◽  
Artistic Expression ◽  
Creative Work ◽  
Original Works ◽  
The Senses

All design has its own conditional modes of expression; however, these are realised through the maker’s sense of the possibilities of materiality. This essay was inspired by a reclaimed piece of 1960s furniture designed in the modernist idiom, and is based upon autobiographical experiences, original works from own and contemporary aesthetic practices, and associated thoughts in the present. A completely new artistic expression was developed, which questioned the strict, use-defined style ideals and let shape reveal other values and statements than function. The intention of this essay is to put into words some of the cognitive processes in which creativity, critical reflection and the senses’ experience-based insights may bring up something new. In creative work, the goal is not to reach a single result; every little discovery made by examining something specific could open up new worlds.

Strategies for building a professional reputation of Russian emigres and self-educated writers

Neophilology ◽  
2020 ◽  
pp. 512-520
Author(s):  
Yuliya V. Kaminskaya ◽  
Oxana A. Tolstonozhenko
Keyword(s):  
Critical Reflection ◽  
Literary Tradition ◽  
Economic Benefits ◽  
Creative Work ◽  
Common Features ◽  
Cultural Conditions ◽  
The People ◽  
Professional Reputation ◽  
Russian Literary ◽  
Literary Process

We analyze the ways of constructing a writer's reputation in exceptional cultural conditions related to displacement of entire generations of authors to the literary process periphery and their lack of a “right to creative work”. We compare the experience of two conditionally distinguished large and heterogeneous groups – writers from the people who tried to declare themselves at the beginning of the 20th century as an independent current, and representatives of the Russian literary emigration. In addition to a number of common features (falling into the “blind zone” of generally recognized literature, internal isolation, leading to the fact that the majority of readers belong to the same environment as writer, the lack of economic benefits from publishing works), self-educated writers and emigres resorted to similar strategies for building a reputation. We find that representatives of both groups formulated a noble mission uniting them, aimed at serving na-tional literature, turned to the experience and poetics of predecessor writers to construct their own literary tradition, legitimizing their special creative path, and tried to structure their sub-field by creating associations and circles , as well as critical reflection of the current literary process.

scholarly journals The theme of the city in the creative work of Vasily Kandinsky

2020 ◽  
Author(s):  
Ольга Николаевна Филиппова
Keyword(s):  
Visual Art ◽  
Artistic Expression ◽  
Creative Work ◽  
The City

Статья посвящена творчеству Василия Кандинского, русского художника и теоретика изобразительного искусства, стоявшего у истоков абстракционизма. В центре внимания автора живописные картины, посвященные городу. В отличие от наиболее изученных мощных абстрактных произведений В.В. Кандинского городская тема представляет еще много возможностей для изучения средств художественной выразительности и развития его творческого метода. В результате анализа произведений разных лет в контексте биографии и мировоззрения художника автор статьи раскрывает развитие московской темы в искусстве В.В. Кандинского. Особое внимание уделено его московским картинам Москва I , или Москва. Красная площадь , Москва. Зубовская площадь и др. Как будто предчувствуя скорую разлуку с любимым городом навсегда, он хотел запечатлеть его в своих работах и в памяти. The article is devoted to the work of a Russian artist and visual art theorist who was at the origin of abstractionism Vasily Kandinsky. The author focuses on paintings dedicated to the city. In contrast to the most studied powerful abstract works of V.V. Kandinsky, the urban theme still presents many opportunities for studying the means of artistic expression and developing his creative method. As a result of the analysis of works from different years in the context of the artists biography and worldview, the author of the article reveals the development of the Moscow theme in the art of V.V. Kandinsky. Special attention is paid to his Moscow paintings Moscow I, or Moscow. Red square, Moscow. Zubovskaya square and others.

scholarly journals On Accelerations in Science Driven by Daring Ideas: Good Messages from Fallibilistic Rationalism

2015 ◽  
Vol 40 (1) ◽  
pp. 19-41 ◽  
Author(s):  
Witold Marciszewski
Keyword(s):  
Problem Solving ◽  
Cognitive Science ◽  
Cognitive Processes ◽  
Classical Version ◽  
Conceptual Apparatus ◽  
Processing Information ◽  
New Ideas ◽  
The Senses

Abstract The first good message is to the effect that people possess reason as a source of intellectual insights, not available to the senses, as e.g. axioms of arithmetic. The awareness of this fact is called rationalism. Another good message is that reason can daringly quest for and gain new plausible insights. Those, if suitably checked and confirmed, can entail a revision of former results, also in mathematics, and - due to the greater efficiency of new ideas - accelerate science’s progress. The awareness that no insight is secured against revision, is called fallibilism. This modern fallibilistic rationalism (Peirce, Popper, Gödel, etc. oppose the fundamentalism of the classical version (Plato, Descartes etc.), i.e. the belief in the attainability of inviolable truths of reason which would forever constitute the foundations of knowledge. Fallibilistic rationalism is based on the idea that any problem-solving consists in processing information. Its results vary with respect to informativeness and its reverse - certainty. It is up to science to look for highly informative solutions, in spite of their uncertainty, and then to make them more certain through testing against suitable evidence. To account for such cognitive processes, one resorts to the conceptual apparatus of logic, informatics, and cognitive science.

Epilogue

After Debussy ◽  
2020 ◽  
pp. 283-308
Author(s):  
Julian Johnson
Keyword(s):  
Critical Reflection ◽  
Philosophical Critique ◽  
Music And Language ◽  
Scientific Disciplines ◽  
The Senses

Grappling with music in language (music-ology) offers a critical reflection on both. It is here that a hundred years of the philosophical critique of language (from Mauthner, Wittgenstein, and Bergson through to Serres, Nancy, Derrida, and Wellmer) overlaps with a tradition of music after Debussy that, through a logic of the senses, resists the grammars of language. A key source here is Lyotard’s Discours/Figure. A recent convergence of work on the relation between music and language, across diverse scientific disciplines, suggests productive links with the kinds of ideas that emerge from the study of music ‘after Debussy’. The chapter concludes by considering how, at its boundaries, the range of practices we might call musical (playing, listening, composing) blur into something more broadly ecological and ethical.

Video spa : Krisna Murti's treatment of the senses

2010 ◽  
Vol 166 (1) ◽  
pp. 1-24 ◽  
Author(s):  
Edwin Jurriëns
Keyword(s):  
Mass Media ◽  
Video Art ◽  
Creative Work ◽  
Media Industry ◽  
Alternative Vision ◽  
Communication Environments ◽  
The Media ◽  
The Senses ◽  
The Mass Media ◽  
Insight Into

This article discusses Indonesian artist Krisna Murti, whose video art and other creative work can be seen as a form of televisual metadiscourse. Murti’s artistic type of televisual metadiscourse provides insight into the commercial and ideological mechanisms behind the mass media industry; the cultural-technological features of various media; the historical dimensions of different genres of representation; the position of the artist and audience in processes of mediation; and alternative forms of intermediality and interactivity. Beyond merely television critique, Murti’s work presents an alternative vision of mixed environments where media and people harmoniously coexist and interact with each other. The author argues that this attempt at promoting pleasant, effective and sustainable communication environments could be seen as the media equivalent of ecology.

scholarly journals Freedom in music on the example of the works of Karlheinz Stockhausen and Iannis Xenakis

2019 ◽  
pp. 81-94
Author(s):  
Justyna Humięcka-Jakubowska
Keyword(s):  
The Other ◽  
Creative Work ◽  
Karlheinz Stockhausen ◽  
Iannis Xenakis ◽  
Personal Freedom ◽  
Creative Individual ◽  
The World ◽  
Original Works ◽  
The One

In her article titled Niebezpieczne związki, czyli o granicach wolności w sztuce i w życiu [Dangerous liaisons, or on the limits of freedom in art and life] Elżbieta Korolczuk (2013) claimsthat ‘the sense of personal freedom and independence from other people – not only in the senseof intellectual and aesthetic influences, but also familial and emotional ties – is often perceived asnecessary in order to create new, original works, to be a truly creative individual’. It is not difficult to find new and original works in the oeuvre of Karlheinz Stockhausen and Iannis Xenakis and,paraphrasing the words of Maria Anna Potocka (2013) – it is thanks to them that ‘the world has moderniseditself and freed itself from outdated values’. In relation to creative work in music, this ‘senseof personal freedom and independence from other people‘ leads, on the one hand, to the ‘freedom ofmusic’ and, on the other, ensures achieving ‘freedom in music’. The aim of this discussion is to pointto those threads in the statements of Stockhausen and Xenakis, and those features of their works,which testify to the specific manifestations of the ‚‘freedom in music’ created by them.

scholarly journals Świat czy wydarzenie? W stronę ontologii wojny

2020 ◽  
Vol 10 (1) ◽  
pp. 133-150
Author(s):  
Adam Woźniak
Keyword(s):  
Twentieth Century ◽  
Cognitive Processes ◽  
Armed Conflict ◽  
Critical Reflection ◽  
Philosophy Of Technology ◽  
Conflict Prevention ◽  
Marshall Mcluhan ◽  
Similar Strategy ◽  
Critical Approaches ◽  
State Of Affairs

The world or an event? Towards an ontology of war: This paper is an attempt to rethink the ontology of war. Its main object is to determine the ontological status of war and the connection between strategies of armed conflict prevention and the way this status is understood. If to overcome metaphysics we need to reconsider its basis then maybe a similar strategy should be applied in order to overcome war. The source of war is understood here not only in temporal terms, but also as its essence — the ontological basis. The first part of the article invokes several conceptions from the twentieth century (that, of course, refer to much older texts), according to which, war was to be overcome by variously understood progress. In those conceptions, as well as in the critical approaches from the beginning of the 21st century, war is treated as an event, a state of affairs. In the next part of my paper, based on Margaret Mead’s anthropological diagnosis, I propound a conception of war as an invention, and therefore — technology. The issue of war is further considered in the context of the twentieth-century philosophy of technology. A thesis is put forward according to which understanding the influence of techne of war over episteme should be the essence of thinking of war prevention. In this study, war is treated as a technology that determines perception. For critical reflection upon war, I use twentieth-century philosophical conceptions linking technology with cognitive processes, especially those formulated by Martin Heidegger and Marshall McLuhan.

Sound Exchange: Reframing Music Composition Educational Practice

2015 ◽  
Vol 25 ◽  
pp. 34-36 ◽  
Author(s):  
Daniel Walzer
Keyword(s):  
Open Access ◽  
Music Composition ◽  
Educational Practice ◽  
Positive Influence ◽  
Artistic Expression ◽  
Creative Work ◽  
Musical Practice ◽  
Composition Course ◽  
Separate Class

Affordable technology facilitates an immediate documentation of sound and space that encourages collective artistic expression modeled after track- or song-remixing websites. Students in a newly proposed music composition course must capture and generate original sounds, and then upload them to a separate class drive for other students to reuse. New creative work consists entirely of these reused sounds. The author discusses the use of remixed sound collages in an open access format and considers the positive influence of legal file exchange and remixing in educational musical practice.

scholarly journals The theme of India in the creative work of Semyon Chuikov

2019 ◽  
Author(s):  
Ольга Николаевна Филиппова
Keyword(s):  
Everyday Life ◽  
Artistic Expression ◽  
Creative Work ◽  
Indian People ◽  
Large Form ◽  
Plastic Structure

Статья посвящена творчеству советского живописца, народного художника, академика АХ СССР Семена Афанасьевича Чуйкова. В фокусе внимания автора живописные произведения художника, посвященные Индии. В отличие от наиболее изученных работ о Киргизии, ее людях и природе, индийская тема представляет еще много возможностей для изучения средств художественной выразительности и развития творческого метода С.А. Чуйкова. В результате анализа произведений разных лет в контексте биографии и мировоззрения художника автор статьи выявляет черты живописно-пластической структуры картин, особенности образов и колорита. Особое внимание уделено поэтизации образов простых людей Индии, их быта, а также мотивам женщины и матери, перекличке тем материнства и равноправия, демократизму художника. Отмечены характерные решения в композиции, пластике, а также стремление художника к большой форме, к монументальному обобщенному образу. The article is devoted to the work of the Soviet painter Semyon Chuikov, peoples artist, academician of the Academy of Arts of the USSR. The author focuses on paintings by the artist dedicated to India. Unlike the most studied works on Kyrgyzstan, its people and nature, the Indian theme still has plenty of opportunities to explore the means of artistic expression and the development of a creative method of S.A. Chuikov. As a result of the analysis of works of different years in the context of the artists biography and worldview, the author of the article reveals the features of the picturesque-plastic structure of paintings, especially images and color. Particular attention is paid to the images of Indian people , their everyday life, as well as the motives of woman and mother, the parallelism of topics of motherhood and equality, and the democratism of the artist. Characteristic decisions in composition, plastic, as well as the artists desire for a large form, for a monumental generalized image are noted.

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