Suchergebnisse

This article seeks to investigate art as an emblematic example of life as will to power, from the perspective of Friedrich Nietzsche. According to Nietzsche life is a constant creating and recreating without a pre-defined teleology. It is precisely this aspect that art expresses a more transparent way what life is therefore art is precisely the process of creation and recreation without a purpose beyond creation itself. The art from the perspective of the artist is always unfinished and so he continues to create, is as if the artist somehow would capture what life is, and reveal it in their art and in the creative process. The art besides being like everything else, moved by the will to power, to the extent that she herself is a constant drive by creating, reveals a very peculiar way the pathos that is life as will to power that always surpasses herself . Therefore, to realize the true artist against the current world how content and content as form, realizes the inverted world, and in this reversal look allows play with life, creating and transforming the current New. Furthermore, to the extent that the figures are contrasted by a necessary one photographer to support the existence, for the inversion of true reality is a reality in its many situations created. Criticized the values ​​exemplified by the action of the artist's conception of truth inaugurated by Socratic and Platonism, which in a way is based on a kind of deification of the rational concept. Our Philosopher explicit reversal of Platonism asserts that the truth-conceptual-rational metaphysics has less value than the irrationality of artistic pathos.

Filmes em 3D se multiplicaram no cinema desde o início da década, até no documentário. São exemplos A caverna dos sonhos esquecidos (2010), de Werner Herzog, Pina (2011), de Wim Wenders, e One more time with feeling (2016), de Andrew Dominik, que abordam diferentes formas de arte. O objetivo deste artigo é analisar como os diretores lidam com outras formas de arte que não a audiovisual e de que maneira o 3D pode propiciar novas experiências sensoriais e sentidos para esse gênero do cinema.

The technological revolution of recent decades has already brought art to the broadest masses, and the unexpected intervention of the pandemic has significantly accelerated the process of migration of theatrical art to the virtual space, causing the corresponding dynamics of the audience. What is the theater audience in the era of digitalization and the spread of alternative forms of cultural consumption? How does the theater build its relationship with the audience today? In search of answers, we conducted a series of sociological surveys of the Chekhov Moscow Art Theater's audience — both at the theater's performances and in the online community of its fans. The purpose of this phase of the study was to answer the fundamental questions: do spectators surveyed in the theater and those surveyed online represent the same audience; what are their main differences; and what are the drivers of their spectator behavior? The article presents the main results of a comparative analysis of two images of the Moscow Art Theatre's audience based on a number of content parameters by two types of surveys, as well as the results of a regression analysis of the theater attendance. The study resulted in definition of the qualitative and behavioral differences between the theater visitors and the viewers surveyed online, and identification of the factors of theater attendance for both of the represented audience groups. The study made it possible to clarify the role of age and other socio-demographic parameters in cultural activity, as well as the influence of preferred forms of cultural consumption (live contacts or online views) on one's attitude to art, motivation and spectator behavior. The conclusions of the study, despite the uniqueness of the object, reflect the general patterns of the modern art audience's dynamics.

Background. Since the beginning of the 2010s, the Okinawan Government has been making significant efforts to develop, professionalize, and promote karate tourism in Okinawa, since this is known to be an essential sector for the island's economy. Problem and aim. A systematized study into the nature of karate tourism in Okinawa has so far not been conducted. This article offers a comprehensive overview of the historical development of martial arts tourism in Okinawa, by discussing the most recent events in karate as a martial arts tourism niche and its ongoing institutionalization. Method. The method of research presents and analyses a corpus of institutional and public sources of information on karate tourism available through the web. It should be noted that web presence is one of the leading action methods for the Japanese and Okinawan governments, and hence it supplies a valuable resource of information, particularly considering the lack of specific scholarly references on the matter. The article incorporates academic literature on martial arts tourism and other relevant types of sports and cultural tourism, as well as a body of work on Japanese and Okinawan studies examining the subject. Results. The creation of an official karate tourism industry in Okinawa responds to Japan's economic and cultural plans for attracting higher numbers of tourists to the country, thus increasing overall revenues and fostering regional revitalization. However, Okinawan karate as a martial art and tourism sector is also conditioned by powerful global and transnational factors superimposed onto local interests and narratives. Conclusions. Karate tourism is being actively promoted by the Japanese Government and the Okinawan Prefectural Government as a form of martial arts tourism intermingling cultural and sporting factors. Despite this convergence of economic objectives, hierarchical tensions exist as the Okinawan and mainland definitions of traditional karate and its cultural significance differ, forcing a debate on the current ...

La presente tesis investiga la correspondencia existente entre los discursos estéticos relacionales, dialógicos y antagónicos y la práctica artística contemporánea española. Nuestro trabajo analiza aquellas obras que en nuestro contexto han hecho uso de unas estrategias que han potenciado la creación de encuentros y/o de lugares para la colectividad, con la intención de producir experiencias comunes, intercambios sociales y espacios democráticos aptos para relaciones sociales igualitarias. Aunque nuestro estudio contempla, lógicamente, el discurso de la estética relacional de Nicolás Bourriaud, la difícil definición de sus límites y la constatación de la contaminación e hibridación de las obras seleccionadas en nuestra tesis, ha determinado que incluyamos otro tipo de discursos críticos surgidos en respuesta a Bourriaud. Por un lado, realizamos una aproximación al arte dialógico de Grant H. Kester, hecho que nos sirve de contrapunto para analizar las diferencias y similitudes entre ambas posiciones, así como para profundizar en la teoría de la democracia y del espacio público desarrollada por Jürgen Habermas, una teoría en la que Kester se apoya. Por otro lado, también abordamos el antagonismo relacional, planteado por Claire Bishop. Esta autora parte del concepto de modelo democrático agonístico de Chantal Mouffe y Ernesto Laclau, para así cuestionar la visión unificadora de la comunidad que ofrece la estética relacional, dado que la misma ignora las diferencias que se dan dentro de una sociedad verdaderamente democráticaPartiendo de esta aportación, revisamos la concepción de democracia propuesta por Jacques Rancière, puesto que se trata de un modelo que, al margen de coincidir con el desarrollado por Mouffe, es el utilizado por Claire Bishop para dotar de fundamento teórico al arte participativo. Los artistas españoles seleccionados para investigar las correspondencias con las teorías señaladas son los siguientes. Estética relacional: Ana Laura Aláez, Xavier Arenós, Santiago Cirugeda y Alicia Framis. Estética ...

Based on participant observation, symbolic interactionism and feminist analysis of diverse art forms available in the public domain, the article focuses on the stereotyped notion of masculinity, which gets projected into the urban landscape of modern cities in Northeast India. It takes a critical stance on some of the prominent mascots, symbols and identities which are attached to products, services and ideologies predominantly rooted in patriarchy and gender-based discrimination. The observations shared in the article are drawn from the researcher's field experiences and do not hold any offence to any particular agency, group, denomination or individual. It attempts to bring forth a subaltern narrative which is gradually getting erased from public memory from a queer feminist lens of locating oneself in a public space. It also questions the gender-normative imagination of modern India, which is rapidly engulfing all forms of diversity into its monoculture of development.

La necesidad de un estudio más detallado de la creatividad de Ilyas Efendiyev también se asocia con la riqueza del lenguaje y el estilo de este autor. En general, los problemas del lenguaje y el estilo del proceso literario deben estudiarse de manera integral, y solo en este caso podemos resolver una serie de problemas importantes y hacer asociaciones con la creatividad lingüística. Este trabajo puede contribuir a la aparición de nuevas características del lenguaje en el contenido y la riqueza de la forma. Cabe señalar, que las características lingüísticas y estilísticas del arte dramático de Ilyas Efendiyev no se han estudiado lo suficiente en la lingüística azerbaiyana.

The volume "Contentious Cultural Heritages and Arts – A Critical Companion" introduces new approaches to productively address contentious heritages. It demonstrates how to use artistic methods in combination with educational, anthropological and historical approaches. Thirty authors with backgrounds in academia, museums and the art world discuss strategies and practices to publicly represent controversial heritages in Europe. Outlining artistic and participatory methods, they open up spaces where difference and conflict can be negotiated in productive ways. This approach fosters constructive exchanges in a political landscape where heritage is increasingly deployed to normalise divisive ideologies of the extreme right...The volume addresses heritage practitioners, artists, educators and academics, but is also of interest for the wider public. It offers inspiration for transdisciplinary work in museums, archives, memorial sites, universities and civil society. Overall, it makes a substantial contribution to the debates on the challenges Europe is facing.

The genre of the mass song is one of the fundamental phenomena in aesthetics and practice of socialist realism. Mass songs are supposed not only to be accessible to the lay audience, but also to be composed in a way that invites the participation of amateurs. Importantly, the institutions which have been disseminating the mass song under state socialism, such as various institutions of education, culture and art, have also served as mechanisms for the normalization of its ideological content. This article summarizes important aspects of the concept of the mass song in general and offers a multifaceted exemplification, before proceeding to discuss the history of mass songs in socialist Yugoslavia (including, by and large, what is usually referred to as partisan songs), with emphasis on the institutional framework through which they were practiced and disseminated, and on specificities that the genre had accrued within the Yugoslav framework. This historical framework of practicing mass songs in Yugoslavia provides a platform for opening the question of intrinsic incompatibility between the project of a classless society and the institution of art. In regards to this, article discusses contemporary practice of Yugoslav mass songs as practiced by self-organized choirs and their new political potential.

La propuesta del trabajo es abordar el Curso Intensivo de Arte en la Educación (CIAE), creado en la Escuela de Arte de Brasil de Río de Janeiro en 1961. En el acercamiento a este curso pretendo construir una narrativa, retomando de Didi Huberman el concepto de brecha histórica y de Jorge Larrosa la noción de cantos de la experiencia. De esta manera retomo a Noemia Varela, coordinadora técnica y pedagógica del CIAE entre 1961 y 1981. Los ecos de estos cantos son: Ana Mae Barbosa (1986-2015), Lucimar Bello Frange (2001) y Fernando Azevedo (2000), entre otros. Los textos, las entrevistas y los registros de Noêmia Varela, son aquí trabajados como archivos; -desde la perspectiva de Huberman- como contenido que ofrece, a cada descubrimiento, "una brecha en la historia concebida". El trabajo está organizado en dos partes, en la primera busca contextualizar el campo educativo y político brasileño, esto con la intención de comprender el campo de creación del CIAE, para luego presentar y discutir las reformulaciones, -creadas por este curso- en los programas de formación de profesores del campo de las artes. ; The purpose of the work is to approach the Intensive Course of Art in Education (CIAE) created in the Brazilian School of Art of Rio de Janeiro in 1961. In the approach to this course, I intend to build a narrative, taking from Didi Huberman the concept of the historical gap and from Jorge Larrosa the idea of songs from experience. In this way, I return to Noemia Varela, technical and pedagogical coordinator of CIAE between 1961 y 1981. The echoes of these songs are: Ana Mae Barbosa (1986-2015), Lucimar Bello Frange (2001) and Fernando Azevedo (2000), among others. The texts, interviews and records of Noêmia Varela, are here utilized as archives – from the perspective of Huberman – as content that offers to each discovery "a gap in conceived history." The work is organized in two parts; in the first it seeks to contextualize the Brazilian educational and political fields with the intention of understanding the field in which the CIAE was created. Then it presents and discusses the reformulations – created by this course – in the programs of training professors in the field of the Arts.

The first English-language survey of art photographers working within the National­Socialist state, Photography in the Third Reich explores the creation and use of photography as an ideological tool in Nazi Germany. Focusing on a select group of voelkisch photographers who continued to practice their art during the 12 years of the Third Reich, this collection of essays investigates how these photographers created a visual myth of the `master race' and its antitheses. With an emphasis on the idealised representation of the German body and the use of physiognomy - the popular pseudo-scientific fad concerning the belief that the face and body can be interpreted to reveal a person's nature and character - each chapter considers a different visual ideal, from the hardworking peasant to the industrious labourer. New research from leading scholars in the field is brought together to provide an overview of the key aspects of photography in this period, including the influence of Modernism; ideology and the body; the qualitative effect of propaganda photography; the politicisation of photography; print media; and the use of new technologies, such as colour­film. Particular attention is paid to the materiality of historical source photographs, examining their production, construction and proliferation. Finally, the book questions whether it is possible to talk of a `Nazi photography', defined by its stylized representation of the body as constituent parts of the idealized national community.