Love discusses the eco-theater of Kirsty Housley. In both The Encounter and the recent filmed performance Can I Live? on which Housley worked as a dramaturg, liveness and theatricality are playfully ...employed to overcome the representational challenges posed by the Anthropocene. The Encounter explores different ways of experiencing and being in time. In both The Encounter and Can I Live?, Housley and her collaborators employ a dramaturgy of layering. In The Encounter, the looping and overlaying of different pasts alongside the unfolding present offers one possible way of addressing deep, ecological time on stage. Can I Live? meanwhile, is a Russian doll of a show, constantly cracking open to reveal another element contained within its deceptively simple setup. In different ways, dramaturgical strategies like these might help audiences to imagine the complex interconnections and overlapping conceptualizations of time that characterize the Anthropocene.
Les artistes choisissent de plus en plus de placer au centre de leur pratique des dispositifs et même des méthodologies scientifiques. Ne serait-ce là que le signe d’une expression désireuse de ...fonder toute création sur des connaissances objectivement établies, dans une société encore largement soumise à des modèles positivistes ? Leur travail, qui constitue un véritable acte d’investigation, peut-il et doit-il mener à un savoir comparable à celui du scientifique ? L’étude du vivant, en particulier, occupe une place primordiale au sein de l’art contemporain, et notamment dans le développement d’expérimentations souvent inspirées du modèle des sciences dites « dures », ayant pour objet d’enquête l’animal. Dans ce contexte, l’artiste-scientifique ne serait-il qu’une figure chimérique ou aurait-il les moyens d’inciter à envisager des représentations extrahumaines ?
The production of ceramics is among the oldest human skills, and the cultural materials clay and ceramics have been included in Norwegian curricula for about a hundred years. But during this period, ...the emphasis in the curricula has shifted. Therefore, this study aims to elucidate to what extent, in what way and in which academic context the words clay and ceramics have been used in the Norwegian curricula in the period 1922 to 2020. The data material included in the study are Norwegian curricula that during this period relate to clay as a material for play, clay as a material in craft tradition and clay as a material for artistic expression. The curricula are examined through textual analysis based on Goodlad and Gundem's curriculum theories. The results show that there have been significant variations in the references to clay in the curricula, and in what clay is related to. Apart from the fact that clay is always mentioned in the Primary school curricula, there is no common thread through the plans that shows a consistent connection with the three traditions of the use of clay examined in this study; material for play; material in crafts or as artistic material. The usage seems inconsistent and random. The study also shows that in the beginning of the period use of the material clay had a different development in the school subjects than drawing, textile work and woodwork. In the first half of this period, material play and free modelling with clay is mentioned as a working method in interdisciplinary work. In the various curricula, we can also see an alternation between clay as a basis for play, clay as a material related to craft traditions or clay as a medium for artistic expression.
The focus of the article is emotiveness, which in the research work of Viktor Shakhovsky and Polina Volkova has acquired the status of a universal methodology relevant for both verbal (poetry and ...literature) and non-verbal discourses (painting and music). Turning to synthetic works in the domain of cinematography, the authors analyze the films of Alexander Lapshin (Dialogue with Continuation) and Kira Muratova (Three Stories. The Second Story). From a new scholarly point of view, examination is made of the musical accompaniments to the designated films, represented by the musical compositions of Bach — Gounod (Ave Maria) and Vasily Agapkin (the march Farewell of Slavyanka). It is the music that determines the turn to the inner form of artistic expression, acting as the emotive potential of the semantics of the film text. It is emphasized that the indicated emotive potential determines both the ethical and aesthetic essence of the verbal sign and its emotional richness, awakening the formation of spiritual energy. The indicated attitudes demonstrate the prospects for the interaction of linguistics and musicology, creating precedents for working with such forms that require active participation from the communicants of artistic expression. As a result, the category of emotivity, developed in a field different from linguistics, acquires new characteristics. Ensuring its viability, emotivity demonstrates the obvious priority of the human factor in the era of digitalization and artificial intelligence.
Jerome's Epistula Prima Kaja Osobik
Classica Cracoviensia,
12/2022, Volume:
25
Journal Article
Peer reviewed
Open access
Jerome wrote Epistula prima probably during the decade of 366–376. Little is known about this stage in his life, but it was apparently then that as a young man he became interested in asceticism and ...at the end of this period of time finally decided to become a monk. However, the ascetic ideas are not the main theme of Ep. 1. The letter tells the story of a falsely accused woman who was subjected to torture and survived seven strokes of the executioner’s sword. The way in which Jerome interprets and presents these events reflects his spiritual profile and aesthetic preferences. The text can be interpreted both as a letter (a ‘real’ or a ‘fictional’ one) with an embedded narrative and as a non-epistolary work with a dedicatory preface. This affects the way in which the reader responds to the introduction (where Jerome’s anxiety concerning the imperfection of his style is expressed) as well as his or her right to assess the subsequent narrative. None of these approaches eliminates the duality in the text’s structure. Therefore, it should be interpreted on the two following levels: as an epistolary speculum animi, which shows Jerome in the situation of undertaking the task of writing the narrative, and as another, literary speculum, which reflects the author’s soul by means of artistic expression.
Jan Sawka's Screen Play Schwenger, Peter
Art journal (New York. 1960),
20/4/3/, Volume:
81, Issue:
2
Journal Article
Peer reviewed
In 1982 the Polish American artist Jan Sawka executed an extraordinary painting, 15 Strange Things on the Clean Morning Sky. Contradicting the title, the sky depicted is covered with sketches and ...cryptic writing. This suggests a common hallucinatory experience had by pilots navigating an empty sky, the ganzfeld effect. When vision encounters any undifferentiated field, such as total darkness, it will create something to see, in the form of hallucinations. Maurice Merleau-Ponty has asserted that hallucination is an integral part of visual perception: it is a kind of preseeing, which Jacques Lacan calls the screen. For Lacan, the screen is a "locus of mediation" between actual perceptions and the expectations or models that shape our seeing; it works without any conscious awareness on our part. This is not so with the "15 strange things" of Sawka's title: small, framed images in a dusky cluster near the top of the painting. Their subjects reflect three modes in which conscious thought is conceived out of the torrent of visual impressions: diagrams, words, and clouds. Sawka plays with the screen in various ways, making it visible in other works of his. His preoccupation with the nature of seeing is not confined to images from the material world but has implications as well for memory, fiction, and painting itself-since a canvas is also a screen.
Knowledge about empathy is part of the study of artistic expressions, among which stand out works of personalities such as the Renaissance polymath Leonardo da Vinci, who was concerned with the ...connection between science and art during his creative research full of imagination and sensitivity to nature and human anatomy. The word empathy emerged among critics of German art as the term
, which was used within the aesthetic bias by philosophers and art historians. It emphasized the idea that a viewer perceiving an object could establish a link between it and themselves, projecting the object 'into themselves'. That is, the artwork could be experienced by the observer as if the viewer belonged predominantly to the object, in such a way that its characteristics could be actually felt through the expression of emotions, feelings and thoughts. This analysis of art appreciation required a great deal of knowledge and contemplation of nature, as understood by the German Romanticists, who had enormous admiration for da Vinci and his universal and systematic mind-a mind which reacted against formalisms, building his intellectual and sensory systems based on both his observation of nature and his own criteria. In particular, the art of painting for Leonardo was a way to demonstrate a mental discourse, just as the most important aspect of human portraits is to represent-in gestures and facial expressions-the states of mind and emotions. These are facts that German Romanticists tried to explain as the relationship between empathy and a work of art. The present manuscript aims to describe empathy from an artistic view, considering the roots of this word in German Romanticism; to comment about Leonardo da Vinci and the expression of art in the Renaissance; and, finally, to discuss the expression of his art in relation to empathy.
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