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This article presents the most frequently cited arguments for (or against) state support for art. It is looked for an answer to the question which of these arguments are logically supported in economic terms. The focus is mainly on stage art. It is recommended to reduce subsidies for this art and to maintain state theaters only as scenes for the appearance of private artistic groups.
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The article brings a transdisciplinary approach to church doors as works of art for the liturgy. Doors are first brought into relation according to their universal anthropological-cultural basis, and then there is a breakdown of the theological layers of tradition which defined that place – the symbol of the church and thus significantly enriched the Christian culture. In addition, the article deals with specific architectural and artistic processes of symbolization associated with the formation of the sacred threshold, which are broken down in a triple perspective: body, transition, presence. In this regard, the doors articulate a specific symbolic-ritual action and perception that initiates man in the encounter with the sacred. Then, there is an analysis of the doors of the Hvar Cathedral by a contemporary Croatian sculptor Kuzma Kovačić, in which religion and culture, modernity and tradition, sacred and beauty are fruitfully united.
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W dniach 27.09.2019–02.02.2020 w zabytkowej Hali Maszyn łódzkiego EC1 można było – po raz pierwszy w Polsce – oglądać wystawę „Sztuka DC. Świt superbohaterów”, będącą wspólną inicjatywą Art Ludique – Le Musée, Warner Bros i DC Entertainment. Łódź jest czwartym miejscem na świecie (wcześniej były to Paryż, Londyn i Abu Dhabi), w którym fani superbohaterów i uniwersum DC mogli zobaczyć z bliska oryginalne plansze komiksowe, szkice koncepcyjne i artefakty pochodzące z filmowych ekranizacji przygód bohaterów DC Comics (Kwiatkowski 2019). Wystawa „Sztuka DC. Świt superbohaterów” jest syntezą wielowątkowego i uobecnionego w różnych mediach świata bohaterów DC. Układ wystawy – zajmującej w sumie ponad 1000 m2 (Ec1 Łódź 2019) – sprawia, że zwiedzający wchodzą w świat Batmana i Supermana przez ścieżkę „sentymentalną”, przedstawiającą kolejno okładki i przykładowe strony z komiksów DC, które ukazały się na przestrzeni osiemdziesięciu lat – zaczynając od pierwszego wydania Supermana z roku 1938 (pierwszy raz z postacią Supermana czytelnicy mogli spotkać się na kartach „Action Comics” nr 1). Układ ten pozwala prześledzić zmieniającą się estetykę komiksu i zarazem pokazuje, w jaki sposób kluczowe postaci należące do Warner Media ewoluowały w czasie i w jaki sposób przez prawie sto lat DC Comics kształtowało nasze wyobrażenia o superbohaterach.
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Review of: Beata Szymańska, "Między Zachodem a Wschodem. To samo i inne". Review by: Anna Kuchta and Joanna Malita-Król
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The icon depicting Christ Pantocrator is kept in the Monastery of the Temptation near the town of Jericho and has not been mentioned in scholarly literature until now. The commemorative plate in the base of the icon tells us that it was created in 1879 by zograph Zahariy Dimitrov Dospevski. He is the son of Dimitar Zograf, who was the elder son of the founder of the Samokov art school Hristo Dimitrov. It is known that Z. Dospevski, following the April Uprising and the events that came after it, spent six years of his life, up until 1882, in the Jerusalem region. His work during that period remains mostly unexplored by academic publications. The zograph worked actively in the Monastery of St. Sava, where he finished the frescos on July 19th 1880, as documented by an inscription on the murals. As for the icon of Christ Pantocrator, we may assume, based on the commemorative plate which also serves as the zograph’s signature, that it was created as a gift on behalf of the zograph and his family, whose names are present on it.
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The present paper deals with the work of an Israeli artist, Guy Ben-Ary. His work is a prime example of artistic practice in the field of bio art. Bio art provokes critical thinking about the place and role of people in today’s world. The main purpose of the article is to describe changes in contemporary artistic practices within the framework of art as a laboratory, the aim of which is to study reality.
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The history and theory of art have often shown, before the era of neurobiology, cognitive psychology and cognitive science, that great artists are unconscious neurobiologists, activating with their art the areas of the brain of recipients that cause aesthetic experience, and using in their works the principles of perception or optical illusions, unknown to ordinary mortals, and sometimes also to creators at the level of consciousness. The following considerations are intended to approximate and, to some extent, to rehabilitate and save film creators and theoreticians who are being forgotten, the ones who, long before the discoveries of the cognitive sciences, considered theoretically and carried out empirical experiments aimed at showing and explaining the mysteries of human perception and the influence of the film on the viewer. I will present the profiles of the two pioneers of pre-cognitive thought on the basis of film studies: Hugo Münsterberg and Lew Kuleszow. I will show that half a century before neuroscientific research, they dealt with the cognitive processes of human cognition. I will present the contemporary state of cognitive sciences to illustrate the pioneering and legitimacy of visions, intuitions and achievements of the above creators, who are underestimated and forgotten by time and the achievements of “cold” science, although neuroesthetics researchers who have been involved in the problem of perception of works of art and rehabilitation of the merits of the past in the area of neuroscience for some time cannot be denied their achievements. Ignoring their contribution and achievements in the science of cognition, especially as to this day they are continued in research laboratories, in my subjective opinion, equals the potential underestimation of Leonardo da Vinci’s contribution to medical science or Darwin’s to research emotions.
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In view of the relations between literature and film, the article contains suggestions for ways to use performative approaches, which preclude concepts of adaptation, in favour of processes defining actions involving the entanglement of the arts.
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In Genius (2016) by Michael Grandage books are present in many ways. The main characters are William ‘Max’ Perkins, an editor of the Charles Scribner’s Sons publishing house and Thomas Wolfe, a writer starting out at the time. The film is concerned with their relationship and the creation of the novel. The book functions as both a work and an artefact (also as typescript). Literature is a conversation topic and a way of living. One of the most important spaces is the publishing house building. Piotr Zwierzchowski, however, analyses Genius primarily as a contribution to reflections on the act of reading and its film visualization, referring to the distinction introduced by Alberto Manguel(modelled on Barthes’ écrivain and écrivant) between the reader as someone who reads “with no ulterior motive” and one “for whom the text is a vehicle towards another function”.
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In this Introduction, the author discusses the other articles contained in this volume and attempts to present the processess involved in art as stage preformance of both human and non-human actors. She not only examines the objects and persons but also aesthetic categories and the mechanisms involving categories in art. The author proposes a new language that allows for the description of art as a phenomenon of entangled objects, subjects, media, processes and events.
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The Closing of Kunstania is a short tale about art that has been hidden away from its audience in a garden behind high walls. In this refuge, there are neither audio-guides nor art education nor interactive apps. Kunstania reminds us of another possibility to encounter art without mediators, without an aura of masterpieces, and without the promise of an extraordinary event. Instead, a way through a labyrinth of rooms and corridors, where, perhaps, things and tales are stored, but must be found on your own, wandering, returning and recollecting.
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This article deals with the basic issues related to the evolution and methodology of research on art. The author highlights the close relationship between theory and practice of artistic activity and underlines the cognitive advantages stemming from the interdisciplinary approach of formulating and solving research questions in the domain of reflections on art.
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The paper analyzes the thesis that constantly transgressing boundaries in art is a fundamental principle and essential condition for artistic progress. Crossing external (the art – other discourses) and internal (between various art genres) boundaries is analyzed on the basis of transformations (especially adaptation) and representations. Dialogue relations initialized by art crossing the boundaries are analyzed as well: reinterpretations, polemics, extensions and supplementations. There is also a discussion of the ways in which semiotic and media boundaries are trangressed, especially the semiotic and media borders that are essential for the semiotic sphere of one artistic genre for the semiotic and media sphere of the other. The article refers to examples taken from literature, film, sculpture and painting.
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This article aims to indicate universal cognitive diagrams for the process of interpreting and creating works of art. This text deals primarily with issues such as visual perception, neural representations and mental maps. Each of these concepts has a direct connection with the reception of works of art (painting, sculptural and literary). A certain scope of cognitive processes may constitute a cognitive universe with respect to works of visual art. In every field of art, a set of similar, if not identical patterns with regard to a specific realization is noticed. We can therefore speak of generalizations, mutations and emanations in culture. This article is only a research proposal, which requires a wider study.
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In this paper, I analyse the phenomenon of artification of everyday experience. Using the concept of “artification” developed in the field of Everyday Aesthetics, I define the non-artistic experience, which is co-shaped by art and related to its models of perception. As the consequence of this mechanism, I indicate the tendency to project some artistic cognitive schemas (or their elements) to the existing reality. As a result of this process, events and non-artistic views are captured in the image of art, as ”art-like”. The process of the interpenetration of the fields of art and non-art may lead in turn to the reversal of the mimetic order – when artistic creation determines the forms of examining the world to the extent that it creates the effect of “life imitating art”. This phenomenon of formalizing experience according to artistic models is illustrated by examples from the linguistics, visual arts and literature.
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The subject matter of the article is Gilles Deleuze’s considerations on the concept of “any-space whatever” and its application in the cinema and the theater. This space is an outcome of the sensorimotor crisis as the development of Henri Bergson’s conception of duration to determine the potential transformations of modern cinema in the post-war period. It is expressed by a potential singularity that finds its locus in pure optical and sound situations. This conception reveals the correlation between the real and virtual connections defined by a genetic sign which relies upon differentiation. As a space characterized by an affection – image is experienced from its inside to define both disjoint and empty spaces. Such affect often emerges in a range of colors to outline the places marked by emptiness. It is strictly associated with “geometrical” orientation actualizing itself via the qualisign. Thus, this article defines the space in terms of the circuit of virtuality and actuality in time-image which crystallizes both in the cinema and TV dramas of potential exhaustion of three languages in theater performances. Namely, the first one is disruptive and enumerative; the second language consists of voices and combinative flows and the third one reunites the previous ones as the language of images, sounds, and coloring which is a movement between words.
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The aim of the article is to analyse the aesthetic aspects of the reception and creation of art by people with hearing impairments. For most people, hearing loss is unimaginable and is often understood only in the context of communication problems. Meanwhile, deaf people perceive their otherness completely differently. Deafness is a total experience, affecting not only the physical aspect, but also changing the perception of reality as a whole. Divergences in the way of perceiving the world, resulting from the exclusion of one of the basic senses, are particularly visible in the field of art, especially in those areas that use sound effects. The large variety of types of deafness does not allow for broad generalizations or building some kind of universal theory of reception. Therefore, from the perspective of deaf people, contact with art is very individual and intimate, which also affects the issue of their artistic creation. The author of the article touches upon the problem of the visuality of sign language and its artistic possibilities. She analyses the perception preferences of people with hearing impairments, exposing the issue of polysensory perception, and presents the most interesting artistic projects created both by the deaf and those that allow to build multidirectional relations between the parallel worlds of the deaf and hearing people.
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This article presents the essays and poems of Aleksandra Olędzka-Frybesowa, who was a renowned translator from French and also English. In her essays, Olędzka-Frybesowa specialises in the Romanesque and Gothic architecture and sculpture of Western Europe as well as European painting from Medieval Ages onwards. She is also familiar with the art of South-East Europe. Her essays cover literary criticism devoted especially to poetry, with a particular interest in French and mystical poetry, as well as haiku, which was also her own artistic activity. The author of this article analyses Olędzka-Frybesowa’s ten volumes of poems, which follow a thematic pattern, especially the theme of wind (air). The analysis provides various insights into a variety of functions of this particular theme, from reality-based meanings to mystical and ethical features. This variety of funtions of the wind theme is supported by a particular melody of the poem and its abundant use of metaphors.
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