Suchergebnisse

This article presents a comparative analysis of two concepts proposed and developed in two very different areas: the concept of themata, proposed by Gerald Holton in the area of ​​the history of science and related to the processes of production and diffusion of scientific knowledge, and the concept of Pathosformeln, proposed by Aby Warburg in the area of history of art and related to some important historical and epochal continuities of artistic production. Despite the very different disciplinary contexts in which they were proposed, and despite the specificities that naturally ensure the identity of each of the concepts, it is shown in this article how themata and Pathosformeln have undeniable and important affinities. In fact, both correspond to entities that have a long historical persistence, a cyclical nature, and a great disciplinary, cultural and epochal transversality, in conjunction with a great capacity to assume specific forms at a given time and in a given context. Despite the roots in very different areas, the affinities are strong enough to recognize that themata and Pathosformeln belong to a conceptual network with great potential for understanding, not only the science and art, but also the historical and transdisciplinary dynamics of culture in general.

On the esthetic potential of communication and in the context of creative industris have arisen electronic communities, whose main concern configuration of urban spaces for the production of art and culture. This article aims to discuss how to generate the images and artistic proposals for the purposes of movement, communication and cultural provocation in the virtual and urban ambiences of cultural projects. The communicational and artistic process expands its dimensions, questioning the linearity of the processes of perception and knowledge. Methodologically, through concepts such as interface and relational esthetics and dissemination, the article discusses experiences, artistic proposals that articulate with ample communication, cultural and political concerns. The field of our research is located in two slightly favored initiatives for cultural policy: SuBte Café, Alvorada/RS, and the Collective Collective Consciousness, Novo Hamburgo/RS. ; Frente al potencial estético de la comunicación, en el contexto de las industrias creativas, surgen comunidades electrónicas que tienen como principal preocupación la configuración de espacios urbanos para la producción de arte y de cultura. El presente artículo tiene por objetivo discutir cómo se generan las imágenes y las propuestas artísticas con objetivos de circulación, comunicación y provocación cultural en los ambientes virtuales y urbanos de proyectos culturales. El proceso comunicacional y artístico amplía sus dimensiones, cuestionando la linealidad de los procesos de percepción y conocimiento. Metodológicamente, mediante conceptos como interface y estéticas de diseminación y relacionales, el presente artículo discute experiencias que articulan propuestas artísticas con amplias preocupaciones comunicacionales, culturales y políticas. Se trata de dos iniciativas localizadas en municipios poco favorecidos por las políticas culturales: el SuBte Café, en Alvorada y el Coletivo Consciência Coletiva, en Novo Hamburgo. ; Frente ao potencial estético da comunicação, no ...

This article aims to contribute to the reflection on the phenomenologies of non-identification with the cultural and artistic heritage, namely the architectural and sculptural, installed in the urban public space. Contemporary iconoclastic practices have made the political and media debate aware of the quality and pertinence of cities' aesthetic and artistic transformations. I aim to establish possible relationships between iconoclastic phenomena, contemporary mythography and postcolonial and neo-colonial discursive ways, addressing the social and political issues underlying racism, which may be at the origin of iconoclastic practices against heritage. I conducted a selected review of the scientific literature published in the last 20 years, namely authored by Araújo and Rodrigues (2018), Kilomba (2019; " 'O Racismo É uma Problemática Branca' diz Grada Kilomba", 2016), Maeso (2016), Roldão et al. (2016), Ribeiro (2021), Santos (2003), V. Sousa (2020), Vale de Almeida (2000, 2012), Varela and Pereira (2020), and others. On that basis, I tried to demonstrate how the contemporary art and curatorial artivism within museological institutions contributed to challenging institutional historical narratives and the progressive deconstruction of Lusotropicalist discursive practices, which institute colonialism and slavery as acceptable historical inevitabilities. I found that western hegemonic thinking is based on a false ideological construction of identity, supported by an alleged moral and racial superiority, to justify pursuing a model of economic exploitation structured in cultural domination. I concluded that multiculturalism within cultural institutions, safeguarding cultural diversity and heritage interpretation in the public space, could ensure inclusion and social cohesion, develop feelings of belonging, and mitigate inequalities and violence ; Este artigo tem por objetivo contribuir para a reflexão sobre as fenomenologias da não identificação com o património cultural e artístico, nomeadamente, o arquitetónico ...

This article aims to contribute to the reflection on the phenomenologies of non-identification with the cultural and artistic heritage, namely the architectural and sculptural, installed in the urban public space. Contemporary iconoclastic practices have made the political and media debate aware of the quality and pertinence of cities' aesthetic and artistic transformations. I aim to establish possible relationships between iconoclastic phenomena, contemporary mythography and postcolonial and neo-colonial discursive ways, addressing the social and political issues underlying racism, which may be at the origin of iconoclastic practices against heritage. I conducted a selected review of the scientific literature published in the last 20 years, namely authored by Araújo and Rodrigues (2018), Kilomba (2019; " 'O Racismo É uma Problemática Branca' diz Grada Kilomba", 2016), Maeso (2016), Roldão et al. (2016), Ribeiro (2021), Santos (2003), V. Sousa (2020), Vale de Almeida (2000, 2012), Varela and Pereira (2020), and others. On that basis, I tried to demonstrate how the contemporary art and curatorial artivism within museological institutions contributed to challenging institutional historical narratives and the progressive deconstruction of Lusotropicalist discursive practices, which institute colonialism and slavery as acceptable historical inevitabilities. I found that western hegemonic thinking is based on a false ideological construction of identity, supported by an alleged moral and racial superiority, to justify pursuing a model of economic exploitation structured in cultural domination. I concluded that multiculturalism within cultural institutions, safeguarding cultural diversity and heritage interpretation in the public space, could ensure inclusion and social cohesion, develop feelings of belonging, and mitigate inequalities and violence ; Este artigo tem por objetivo contribuir para a reflexão sobre as fenomenologias da não identificação com o património cultural e artístico, nomeadamente, o arquitetónico ...

In the most violent and uncertain times of its recent history, Brazil is revisiting the origins of its racial frictions: the slave trade. "Histórias afro-atlânticas" (Afro-Atlantic Histories) is a massive, 380-work survey of African, Latin American, and European art from the past five centuries, chronicling the largest diaspora in modern history. Nearly half of all Africans captured by slave traders were brought to Brazil, from the time the Portuguese arrived, in the 16th century, all the way through the 21st century. The exhibition is a sequel to "Histórias mestiças" (Mestizo Histories), staged four years ago at the Instituto Tomie Ohtake, the cultural center that is also cohosting the current exhibition. Its scope is far-reaching, with pieces by colonial-era Dutch master Albert Eckhout and modern greats Théodore Géricault and Paul Cézanne, as well as contemporary art-world darlings Glenn Ligon, Kara Walker, and Hank Willis Thomas

This article deals with an object of the History of Philosophy. As such, it aims to analyze the the literary correlations of the texts of Timaeus 71E - 72B, Symposium 202E – 203A and Phaedrus 244A-244E regarding Corpus Hermeticum 12.19, in order to find supposed sources conformed with the hermetic text, and know how they were re-worked in it. So, it looks to ask after the origin, history, meaning and application of motifs that happen in the compared texts, including the Corpus Hermeticum 12.19, scrutinizing the religious-historical correlations in order to find comparable traditive nexus of the contemporary religious-philosophical world (middle-Platonism) of the Corpus Hermeticum 12.19. In particular, this article demonstrates that Corpus Hermeticum 12.19 describes the divinatory arts or mentic arts (μαντιϰή or μαντεία) through the inspiration, haruspex, augur (auspex). It is possible to glimpse the theme of the communication between God and the man through the mantic arts. At last, the present article, based on the Hellenistic approach, puts forward that Corpus Hermeticum 12.19 has Platonic influence.

In confluence with the preparation of this edition of the ARJ, Ana Mae Barbosa is publishing her book Redesenhando o Desenho: educadores, política e história (Redesigning Design: teachers, politics and history, Editora Cortez, 2015), thus giving continuity to the strong historical aspect of her research. This opens up an opportunity to speak with her about the book and the responsibilities involved in historical research in the field of contemporary art education. Besides acting as a kind of book review, the conversation goes into topics that arise while researching contemporary art education history, such as what paths that imagination can take, assessing the plausibility of the contexts studied; the methodical choices of the researcher in constructing narratives and the sharing of data and documents; the importance of the researcher's awareness concerning the role his/her own point of view takes on in weaving a history that may contribute to the illumination of the present and shed light on possibilities.English version by Leslie Damasceno. ; Em confluência com a preparação deste número do ARJ, Ana Mae Barbosa está lançando o livro Redesenhando o Desenho: educadores, política e história, pela Editora Cortez, dando assim continuidade a vertente histórica de suas pesquisas. Abre-se uma oportunidade para conversar com ela sobre o livro e as responsabilidades envolvidas nas práticas da pesquisa histórica no campo do ensino de artes na contemporaneidade. Além de funcionar como uma resenha do novo livro, a conversa adentra por algumas veredas que se abrem ao se pesquisar a história, tais como, as veredas da imaginação diante da plausibilidade dos contextos estudados, as escolhas metodológicas do pesquisador na construção de narrativas e partilha de dados e documentos, a importância da consciência do pesquisador sobre o seu ponto de vista na tessitura de uma história que pode contribuir para iluminar o presente e vislumbrar possibilidades. Partilhamos aqui esta conversa!

It is in the light of the theory of property that two types of practices recently appeared in art are analyzed here: gift and appropriation. Oppose to each other (on the one hand, to dispossess myself of my own production for the benefit of another, on the other, to give oneself what we do not possess), these two phenomena are part of the same project of art, and if so, how to articulate their coherence? Do they involve the same artists or are there, on the one hand, "appropriationists" and, on the other, those who make donations? Do these two artists' gestures have a political aim in relation to the question of property, or do they exhaust themselves in their exclusively artistic sense as strategies of creation? It is finally in certain types of pirate and generous republishing that the two movements are united in one and the same project. ; C'est à la lumière de la théorie de la propriété que sont analysées ici deux types de pratiques récemment apparus dans l'art: le don et l'appropriation. Opposés l'un à l'autre (d'un côté, se déposséder de ma propre production au profit d'un autre, de l'autre, se donner à soi-même ce qu'on n'a pas), ces deux phénomènes font-ils partie d'un même projet de l'art, et si oui, comment en articuler la cohérence? Impliquent-ils les mêmes artistes ou, au contraire, y a-t-il, d'un côté les «appropriationnistes», et, de l'autre, ceux qui font des dons? Ces deux gestes d'artistes ont-ils une visée politique par rapport à la question de la propriété, ou bien s'épuisent-ils dans leur sens exclusivement artistique comme des stratégies de création? C'est finalement dans certains types de rééditions pirates et généreuses que les deux mouvements se trouvent réunis dans un seul et même projet. ; É à luz da teoria da propriedade que são analisadas aqui dois tipos de práticas recentemente surgidas na arte: a doação e a apropriação. Opostas uma à outra (de um lado se despossuir de minha própria produção em proveito de um outro, do outro, dar a si mesmo isso que não se possui), estes dois fenômenos fazem parte de um mesmo projeto da arte, e se sim, como articular sua coerência? Eles implicam os mesmos artistas ou, ao contrário, haveria de um lado os "apropriacionistas", e do outro, aqueles que fazem doações? Estes dois gestos de artistas tem uma visada política em relação à questão da propriedade, ou apenas se esgotam em seu sentido exclusivamente artístico como estratégias de criação? É finalmente em certos tipos de reedições piratas e generosas que os dois movimentos se encontram reunidos em um só e mesmo projeto. Tradução: Lilian Hack (orcid:0000-0002-4727-3845)