Showing papers in "Arte Individuo Y Sociedad in 2018"
TL;DR: In this paper, a unit of analysis consisting of the categories of approaches to creativity, cultural diversity, multiculturalism and interculturality, in addition to the recent participatory and social approaches to design is presented.
Abstract: This article focuses on answering two questions: what is understood in design by creativity and interculturality? and how have interculturality and creativity been studied in design? for this purpose it is used of the open coding proper to the method of grounded theory, with a unit of analysis consisting of the categories of approaches to creativity, cultural diversity, multiculturalism and interculturality, in addition to the recent participatory and social approaches to Design. The analysis leads to establish three characteristics of these studies: 1. The cognitive approach of creativity is the most predominant, with preference for methods and techniques installed in the technical interest of Science, subordinating other epistemological orientations that understand creativity as a sociocultural phenomenon and historical, 2. There is conceptual inaccuracy and scarcity problematization of interculturality, confusing it with cultural diversity, multiculturalism or cross-culturality into design, and 3. The relationship interculturality - creativity is still incipient, prevailing the idea that cultural diversity can cause creative development. The results obtained drive efforts to find ways to make creativity flow in pluricultural social systems of Codiseno, seeking to transform the dispersion of cultural diversity into a fabric of intercultural relations.
14 citations
TL;DR: In this paper, the authors performed a qualitative and quantitative analysis, using the Nudist Vivo 10 program and statistical-descriptive analysis, locating 10 types of links and "heritage nodes", among other keys from the analyzes of the data obtained.
Abstract: The present study takes place in the fundamental subject “Plastic and visual fundamentals in education”, of the 2nd year in Primary Education Degree at the University of Valladolid. This study is part of the research carried out in the Observatory of Patrimonial Education in Spain through three research projects (Ref: EDU2009-09679, EDU2012-37212, EDU2015-65716-C2-1-R), generated in 2009 from the University of Valladolid, and is inserted in the web People and Heritage (www. personasypatrimonios.com). We study and analyze 62 personal heritage samples in order to know and understand link types that students establish with heritage assets, and how they understand the heritage concept within the framework of their academic education. To do this, we performed a qualitative and quantitative analysis, using the Nudist Vivo 10 program and statistical-descriptive analysis, locating 10 types of links and “heritage nodes”, among other keys from the analyzes of the data obtained. Thus, we deepen the understanding of identity bonds towards artistic education
14 citations
TL;DR: The importance of trabajar con the Aprendizaje basado en la Creacion en la formación escolar is discussed in this paper, where the authors introduce el origen educativo del aprendizaja por proyectos, diferenciamos el proypto and el acto creador entre los diferentes tipos de proyctos conocidos, senalamos los aspectos mas importantes de la accion creadora and su relacion con la
Abstract: Para establecer la importancia de trabajar con el Aprendizaje Basado en la Creacion en la formacion escolar, nos introducimos en el origen educativo del aprendizaje por proyectos, diferenciamos el proyecto y el acto creador entre los diferentes tipos de proyectos conocidos, senalamos los aspectos mas importantes de la accion creadora y su relacion con la creatividad, ampliamos el termino “conocer” con el de “saber” e identificamos el “crear” como accion fundamental en las categorias utilizadas en la psicologia cognitiva actual. En todo este recorrido situamos el “deseo” como estrategia motivadora y detonante de este particular “modo” de aprender del arte que lleva a la metacognicion y la metaemocion, ofreciendo una arquitectura orientativa de un Proyecto Creador.
12 citations
TL;DR: In this article, a descriptive exploratory correlational study that analyzes the link between art and wellbeing through an ad hoc on-line questionnaire, completed by 462 people of different age, sex, level of studies and artistic experience is presented.
Abstract: In the last decades, the functions of art have been the subject of many research projects. However, few studies focus on the link between art and wellbeing welfare from the point of view of the participant. This paper represents an example for a descriptive exploratory correlational study that analyzes the link between art and wellbeing through an ad hoc on-line questionnaire, completed by 462 people of different age, sex, level of studies and artistic experience. A vast majority of them consider art as being able to improve their mood, music being the preferred artistic means for it. Some believe that art is a more effective approach than others such as for example sport, however most participants prefer to combine it with other disciplines. People with an artistic background or experience proved to be more likely to use artistic expression to create well-being.
10 citations
TL;DR: In this article, a deconstructive analysis of some concepts of poetic and body are done, to place them in the level of education, and emerge aesthetic pedagogical languages that suggest a poetic education of the body as creative practices of "oneself" from a knowledge of itself, a poetic making, a learning experience and a poetic reason arise whose need is to produce forms of educational thought properly aesthetic and to return to the sensible body.
Abstract: This article comes from the problematic of the body in education and aims to show some poetic languages that redefine de education of the body. A deconstructive analysis of some concepts of poetic and body are done, to place them in the level of education. Form the deconstructive reading emerge aesthetic pedagogical languages that suggest a poetic education of the body as creative practices of “oneself” from a knowledge of itself, a poetic making, a learning experience and a poetic reason arise whose need is to produce forms of educational thought properly aesthetic and to return to the sensible body.
7 citations
TL;DR: In this article, the authors analyse one of the least investigated roots of the avant-gardes and contemporary art, whose influence should not be underestimated, and find a development of what we could call thinking in images.
Abstract: In the crucible of the Renaissance aesthetic, one of the main elements of the alloy was hieroglyphic image, which defined both its formality and the theoretical substratum that shapes it. That kind of image influenced some of the most characteristic visual structures of the 16th and 17th centuries, such as emblems. However, far from disappearing, in the subsequent years, that kind of aesthetic pursuit had several reappearances, especially during the 20th century, with advertising, comics (Jodorowsky, Promethea ), some of the incursions in the new languages of the avant-garde movement (Torres-Garcia) or contemporary artists, such as Laffoley or Bruskin. All of those artists share some essential traits, with a framework that merges Hermetism, Neoplatonism, Kabbalah, Western esotericism, etc. In both the Renaissance and now, it drifts into a style that takes hieroglyphic writing as mythical model. Therefore, in the present text, we will analyse one of the least investigated roots of the avant-gardes and contemporary art, whose influence should not be underestimated. In said root, we can find a development of what we could call thinking in images.
7 citations
TL;DR: Aguilar et al. as mentioned in this paper present an exploración of an experiente de arte comunitario with estudiantes de bachillerato, in which evidencias textuales and visuales were produced by the participants in distintos momentos of a blog.
Abstract: El arte activista, caracterizado por la voluntad de incidir en su contexto social, tiene una de sus concreciones mas interesantes en el llamado arte comunitario. El interes por lo comunitario es una preocupacion compartida por diversos ambitos del conocimiento, incluida la educacion y las artes visuales. La redefinicion del rol del artista como trabajador cultural en contextos sociales especificos se fundamenta en una idea horizontal y participativa de la creacion artistica. La traslacion al ambito de la educacion formal de los principios y metodos del arte comunitario esta dando lugar a interesantes experiencias en la linea de fomentar el pensamiento critico y el compromiso civico entre los jovenes. La investigacion que presentamos se basa en el estudio interpretativo de una experiencia de arte comunitario con estudiantes de bachillerato. En ella se confrontan evidencias textuales y visuales producidas en distintos momentos del proceso y compartidas por los participantes en formato de blog. Nos proponemos sospesar, a partir del caso de estudio, la eficacia de la propuesta como via para potenciar la reflexion critica, asi como evaluar su desarrollo y alcance desde la perspectiva de los participantes.
7 citations
TL;DR: In this paper, the authors identify everyday actions, attitudes of resistance expressing their rejection to a hierarchical organization of pre-crisis architectural scenarios and exhibiting the urgency of renovation, which are exemplified in temporary appropriations that re-describe the existing city.
Abstract: The way in which art and architecture have reacted to the social and material reality in the recent modern history has been varied. If artistic practices under utopian-idealistic approaches priorized utopian practices as a reaction to the expansive urbanism of a post-war Europe, at the turn of the 20th Century, and especially after 2008, our concerns are others. The attempt to rebalance the imbalances caused by urbanization processes that took place the first decade of the 20th Century has questioned the mercantilization of the existing city, this time with actions linked to reality, developed with a pragmatic attitude. Discussing Fiuza Faustino 2007 work “Illegality” which stated, “The illegality as the only liberated territory within the Metropolis” (2008), in this article we identify everyday actions, attitudes of resistance expressing their rejection to a hierarchical organization of pre-crisis architectural scenarios and exhibiting the urgency of renovation. These artistic and architectural practices work with the possibilities of subversive practices, as devices that accommodate new distributions of power. Such ephemeral and itinerant attitudes are exemplified in temporary appropriations that re-describe the existing city, which are no longer escaping from the reality, given the lifetime that we are living.
7 citations
TL;DR: The authors analyzes some ritual and performing phenomena from different cultures, by using a unifying pragma-semiotics approach, especially the speech acts theory, which is confirmed not only in the very linguistic act of utterance, but also in multimodal expression (movement, gesture, word, incantation, costumes, accessories).
Abstract: This paper analyzes some ritual and performing phenomena from different cultures, by using a unifying pragma-semiotics approach, especially the speech acts theory. Claude Levi-Strauss (1995) refers to the rites as a “paralanguage”. In our opinion, his taxonomy of ritual praxis is reducible to the dichotomy constative/performative introduced by John L. Austin (1962), that he later reconsiders and transforms into the trichotomy locutionary / illocutionary / perlocutionary . In Austin’s opinion, the speech acts theory is part of a theory of action. We aim to explain that this is confirmed not only in the very linguistic act of utterance, but also in the multimodal expression (movement, gesture, word, incantation, costumes, accessories) specific to some ritual(ized) social contexts, particularly ritual performances. Like verbal performative utterances, ritual(ized) gesture and movement may have real and immediate efficiency, which means that it may produce a real-world change, from the participant’s viewpoint. Without a ritual context, the choreo-dramatic expression loses its pragmatic function – that of “modification” of the real (Levi-Strauss, 1995). However, it manifests a different one, essentially “aesthetic”. From our point of view, the illocutionary ritual act is thus replaced by a “fictional act”, a category which was previously described by both John R. Searle (1982) and Gerard Genette (1991).
6 citations
TL;DR: In this article, aproximación teorica-practica comparada of the parametros transmediales e interdiscursivos of Hiperlibro-arte digital (Hiperlibros-arte) teniendo en cuenta sus aptitudes como fenomeno de comunicacion altamente interactivo in la escena del arte electronico.
Abstract: La consolidacion del uso de tecnologias digitales en el arte, asi como en cualquier tipo de manifestacion cultural en general, ha derivado, en muchos casos, en una praxis creativa contemporanea caracterizada por la integracion de diferentes medios de manera confluente, es decir, una produccion artistica contemporanea que se significa por la hibridacion de ‘viejos’ y ‘nuevos’ medios, soportes, lenguajes y textualidades. A este escenario creativo liminal basado en la transmedialidad Jenkins lo ha denominado ‘convergencia cultural’. El objetivo del articulo es ofrecer una aproximacion teorica-practica comparada de los parametros transmediales e interdiscursivos del Libro-arte digital (Hiperlibro-arte) teniendo en cuenta sus aptitudes como fenomeno de comunicacion altamente interactivo en la escena del arte electronico. Se analizan los conceptos transmedialidad e interdiscursividad como ‘modelos’ de un metodo de estudio del Libro-arte digital desde postulados semioticos. Asimismo, se establecen parangones entre dichos conceptos y Libros-arte digitales (Hiperlibros-arte) a fin de ilustrar, identificar y diferenciar diversas estrategias creativas utilizadas en este tipo de obras para articular su discurso, y por ende en la creacion artistica contemporanea de preceptos similares. Se ambiciona, a la postre, ofrecer herramientas para el analisis de obras fundamentadas en la concurrencia medial, las nuevas textualidades y los procesos comunicativos interactivos.
5 citations
TL;DR: There is a significant predilection for simplicity, which increases remarkably when the relationship between the subject and graphic design is closer, and the research makes a previous description of both concepts from five variables.
Abstract: Many authors and professionals refer to the simplicity as one of the fundamental features of good design ; however, it seems necessary to wonder about the perception of the public about this visual characteristic. From a previous pilot experience, this study tries to analyze the response towards simplicity or complexity -its opposite technique- in the field of visual identity, specifically. The research makes a previous description of both concepts from five variables and uses the Preference index as a tool to measure the reaction of the receiver. Following this model, and through the evaluation of the redesign of 30 real graphic marks by 1304 participants, the work concludes that there is a significant predilection for simplicity, which increases remarkably when the relationship between the subject and graphic design (in terms of professional profile, training and knowledge) is closer.
TL;DR: In this paper, the authors analyze the transfer to the graphic scope of the idea of verisimilitude, typical of photography, in the context of the digital drawing of architectural forms.
Abstract: The digital drawing has profoundly transformed the architectural graphic representation. Its progressive implantation has exponentially amplified the capacity for the ideation and manipulation of architectural forms, but, in parallel, it has transformed the own way of representing the architecture and the functions of the drawing in this process. In the current article one of these conceptual transformations occurred in the last years is analyzed: the transfer to the graphic scope of the idea of verisimilitude, typical of photography. A process in which the architectural drawing has tried to become an exact replica of reality; an image in which a complete sense of analogy is sought between the real object and its representation, of which the render is the paradigmatic example. A process that abandons the traditional conceptual bases of drawing, based on the interpretation of the object, to replicate its visual image in an exact way
TL;DR: In this paper, a comparative study on 49 bachelor programs in primary education in Chile aiming to discuss how art education is being implemented in elementary teachers' education is presented. But little is known about the arts' generalist teacher training.
Abstract: Educational quality is under the view of Chilean policymakers. Therefore, several reforms are taking place in the schooling system. The arts –as never before- are also in these debates. Notwithstanding the flourishing importance of the arts, little is known about the arts’ ‘generalist’ teacher training. We conducted a comparative study on 49 bachelor programs in primary education in Chile aiming to discuss how art education is being implemented in elementary teachers’ education. This article discusses those results by taking a Foucauldian approach that offers an interpretation on ‘the conditions of possibility’ that arts take in the elementary teacher training. The results are expressed in two ways: through a typology showing the offer institutions have; and a case study that analyzed ten institutions looking for their main characteristics. The results show the transit from a teacher with specific training in the art contents, to a ‘new generalist teacher’ in Chile that lacks art training.
TL;DR: In particular, el analisis comparativo y contextualización de the conceptos nos habla de como la arquitectura realizada entre la publication of ambos textos, al intentar paliar los efectos enajenantes de los no lugares ha incurrido en una saturacion y banalizacion de recursos estilisticos que el concepto de espacio basura saca a relucir as discussed by the authors.
Abstract: Diez anos separan la publicacion del libro del arquitecto Rem Koolhas “El espacio basura” (su primera edicion en ingles es del 2002) del de Marc Auge “Los no lugares; espacios del anonimato” (su primera edicion en frances data de 1992), dos textos emblematicos de la literatura critica con los espacios de la globalizacion de las ultimas decadas, cuyas similitudes y diferencias dan la medida no solo de los puntos de vista de sus autores (inmersos en tradiciones intelectuales distintas como son la antropologia francesa y la critica arquitectonica europea y anglosajona) sino tambien de cambios significativos en el panorama de la nueva arquitectura y diseno producido en dicho periodo. En este trabajo sostengo que, mas alla del caracter nostalgico o provocativo de las propuestas, los autores estan apuntando a una crisis civilizatoria que afecta a espacios e individuos. En particular, el analisis comparativo y contextualizacion de los conceptos nos habla de como la arquitectura realizada entre la publicacion de ambos textos, al intentar paliar los efectos enajenantes de los no lugares ha incurrido en una saturacion y banalizacion de recursos estilisticos que el concepto de espacio basura saca a relucir.
TL;DR: The artist book is an artistic genre with a poetic anchorage linked to the construction of micro-narratives; sometimes, intimate statements, others, of denouncing as mentioned in this paper, but above all, a creative person who seeks to reach society from a richer and more contrasted heteroglossical vision of history.
Abstract: The artist book is an artistic genre has been developing in an increasingly prolific way in contemporary practice. Although it is true that formally and aesthetically it is a polymorphic genre, as narrative genre it possesses, per se, a poetic anchorage linked to the construction of micro-narratives; sometimes, intimate statements, others, of denouncing. The book of artist, as a book and therefore, an excellent icon of conservation and popularization of culture, is an ideal medium to resemantize our culture through the deconstruction of history. For this, many are the artists who, distancing themselves from the perspective of the great stories, decide to write a New History through a complex exercise of the recovery of the social memory and even the postmemory. The present text seeks to show how through the relationship between the theme of Memory and the books of artist, a transdisciplinary exercise is verified where the artist becomes a rapporteur, a researcher, a poet; but above all, a creative person who seeks to reach society from a richer and more contrasted heteroglossical vision of history, an eminently empathetic artist who an eminently empathetic artist who worries about projecting humanity into a better future
TL;DR: In this article, algunas estrategias de resignificación urbana desarrolladas by artistas and poetas experimentales in las postrimerias del franquismo are discussed.
Abstract: Este articulo explora algunas estrategias de resignificacion urbana desarrolladas por artistas y poetas experimentales en las postrimerias del franquismo. Desde esta perspectiva, nos interesa estudiar como —en el contexto del ultimo franquismo— algunos artistas, a traves de distintas propuestas en las que se entrecruzan la performance, la practicas factograficas o la escritura experimental, generaron una serie de trabajos que trataban de visibilizar la dimension represiva del espacio publico, controlado por el Estado, al tiempo que producian nuevos dispositivos con los que recuperar la ciudad a traves de usos que podriamos calificar como democraticos. Estas iniciativas consiguieron producir practicas que permitian pensar nuevos espacios de libertad en los que fuese posible satisfacer las necesidades de los individuos de una manera integral. La ciudad de Madrid fue uno de los principales escenarios de accion de estos artistas y campo de batalla contra la normalizacion de las conductas y relaciones sociales de sus habitantes.
TL;DR: In this article, the authors analyze this exhibition in its social and artistic context, as well as explore the later and divergent artistic trajectory of these three sculptors after the Spanish Civil War.
Abstract: A.D.L.A.N. (Amics de l’Art Nou [Friends of New Art]) was, until the outbreak of the Spanish Civil War, the most important promoter of avant-garde artistic activities in the Barcelona of the 1930s. ADLAN’s organization of exhibitions to spread international avant-garde art has been studied in detail, such as in the exhibition by Hans Arp, Picasso, Alexander Calder, Joan Miro, etc. But we can not forget that in this work of diffusion of the “new art” the promotion of young Catalan artists of the moment had a prominent role within the elite of Barcelona. The paradigmatic example was the exhibition ADLAN presents three new sculptors. Ramon Marinel·lo, Jaume Sans and Eudald Serra, at the Galleries Catalonia in Barcelona (March 1935). The aim of this article is to analyze this exhibition in its social and artistic context, as well as to explore the later and divergent artistic trajectory of these three sculptors after the Spanish Civil War.
TL;DR: In this paper, a research carried out in a sculpture workshop was carried out to highlight the necessity of a revision in the methodologies of work in the university artistic teachings and to make in the pupil a spirit of search and exploration that does not start from a given idea (the subject), but that arises from a research-game process with matter.
Abstract: The present text is the result of a research carried out in a sculpture workshop and supposes a reflection on teaching at the present time to highlight the necessity of a revision in the methodologies of work in the university artistic teachings. It is no novelty to relate both categories, art and game, which have made important authors throughout the twentieth century from Huizinga and Callois, to Gadamer and Bruner among many others. What is striking is an essential question: how to make in the pupil a spirit of search and exploration that does not start from a given idea (the subject), but that it arises from a research-game process with matter. What happens that in this phase of a very directed work, even in a field of game, is that begin to manifest strong bonds between who plays and his chosen matter. From these kinship we will see, later on, and progressively what we have seen to be consistent structures on which to construct their own (artistic) language.
TL;DR: In this article, a case study of an educational project that every year develops the CEIP Miguel de Cervantes, from the province of Malaga, with the intention of taking the art to the classrooms of infant and primary education, thanks to the collaboration of a group of artists who become teachers for a few days at the invitation of the center.
Abstract: This article is the product of the research carried out by members of the group HUM816: Art and Literature, on an educational project that every year develops the CEIP Miguel de Cervantes, from the province of Malaga, with the intention of taking the art to the classrooms of infant and primary education, thanks to the collaboration of a group of artists who become teachers for a few days at the invitation of the center. Using the information obtained through qualitative strategies, -observation, interviews and focus groups- in which the protagonists of this experience -artists, teachers and students- have participated, the objectives of the case study are to identify the contextual conditions - legislative, social, cultural, formative - that determine the development of the artistic curriculum in formal education, analyze the participation of the professional artist in the training process and discover the previous ideas handled by the teaching staff to approach the artistic area. With this approach, the article relates an initiative that brings to light the shortcomings of the educational system in artistic matters, but also the desire of an educational community that puts all their efforts into achieving that Art Education is oriented towards social and cultural understanding of the world.
TL;DR: A continuación de la presente articulo, el analisis de las producciones artisticas de Ian Wallace and Antoni Muntadas, se analiza como desde una serie de practicas artisticas contemporaneas, algunas de ellas surgidas en torno al llamado “giro educativo” del arte, se aborda una revision de las pedagogias artisticas apuntalando una posible via para la transformacion del modelo empresarial universit
Abstract: El concepto de educacion ha sido objeto del arte social y politico desde la decada de los 60 y 70 del siglo XX, sin embargo los planteamientos artisticos de caracter critico sobre la educacion superior universitaria han sido puntuales y poco conocidos. Partiendo del diagnostico de una “universidad en ruinas” en el contexto de un “capitalismo academico”, el presente articulo propone, en primer lugar, el analisis de las producciones artisticas de Ian Wallace y Antoni Muntadas donde se ha desarrollado especificamente una critica de la universidad como institucion academica y educativa. Ambos planteamientos reflexionan sobre la aparicion de la universidad empresarial a partir de la crisis del paradigma humboldtiano de universidad y del fracaso del ideal ilustrado de emancipacion de la humanidad a traves del progreso cientifico. A continuacion se analiza como, desde una serie de practicas artisticas contemporaneas, algunas de ellas surgidas en torno al llamado “giro educativo” del arte, se aborda una revision de las pedagogias artisticas apuntalando una posible via para la transformacion del modelo empresarial universitario.
TL;DR: In this article, the authors analyse the cinematic practice of the filmeur through two of its top representatives in the French space: Joseph Morder and Alan Cavalier, and determine the epistemological approaches and the aesthetic characteristics of this filmic experience developed in solitude, in which the filming becomes a "corporal and aesthetic act" characterised by subjectivity, privacy, immediacy and observation.
Abstract: This article aims to analyse the cinematic practice of the filmeur through two of its top representatives in the French space: Joseph Morder and Alan Cavalier. Its purpose is, therefore, to determine the epistemological approaches and the aesthetic characteristics of this filmic experience developed in solitude, in which the filming becomes a “corporal and aesthetic act” characterised by subjectivity, privacy, immediacy and observation. The analysis of different works belonging to both filmmakers – Lettre de Joseph Morder a Alain Cavalier (2005), Joseph Morder par Alain Cavalier (2006), J’aimerais partager le printemps avec quelqu’un (2007), Le Filmeur (2005) and others– will show how these experiences of reality go beyond the diaristic or autobiographical practices, since the narration is relegated in favour of the present and spontaneous experience of placing oneself “within the act of filming”. These intimate and minimalist practices of a filmic gesture of relinquishment are determined by the evolution of the technology used and its automatisms: in Morder’s case from the super 8mm to the mobile phone and in Cavalier’s through his small digital camera. This filmic experience is defined by an epistemology of no manipulation that becomes transgression of the cinematic orthodoxy.
TL;DR: In this article, two masterpieces of the fictive altarpiece Spanish separated by more than 140 years: el retablo from the hermitage of Nuestra Senora de La Soledad de Puebla de Montalban (Toledo), work of the brothers Gonzalez Velazquez in 1741; and el Retablo at the church of San Isidro de Alcala de Henares (Madrid), work by Manuel Laredo in 1885.
Abstract: Our main idea in this article is to analyze in a graphic, geometric, descriptive and technic way, two masterpieces of the fictive altarpiece Spanish separated by more than 140 years: el retablo from the hermitage of Nuestra Senora de La Soledad de Puebla de Montalban (Toledo), work of the brothers Gonzalez Velazquez in 1741; and el retablo at the church of San Isidro de Alcala de Henares (Madrid), work of Manuel Laredo in 1885. Both paintings share the representation of a Tabernacle, but also the grandiosity and perfection in its layout, in addition to being done by artists who were not famed. The altarpiece-tabernacle is a way of architecture that can be encircled, and its representation upon the wall implies the need of a better knowledge of the rules of perspective for its correct layout. We also analyze the influence that made the quadraturistas and geometry writers in this sort of representations. Beside this geometrical analysis, we consider that it is essential to enter the corporeity of these pieces, its structure and stratification which, combined with the study of the ways of transpositions of the sketches and the pictorial techniques used for its representations, will help us understand better the methodology used by its authors in the making of this wall paintings.
TL;DR: In this article, the authors provide evidence of the constant return to classical filmic postulates through the currently color-correction technology, as well as to discover two distinctive tendencies of the contemporary era: Psychological Expressionism and Chromatic Naturalism.
Abstract: Cinema faces a critical age for reformulating its ontological basis. Competing with television fiction, the digital universe and multimedia devices, Film as an art has refurbish its Aesthetics and spread out different technical innovations in order to adapt its personality to the new social demands. This cultural and aesthetical advance has found in enhanced color-correction technology one of its essential sources. Along its history, Cinema has integrated new aesthetic advances not only for improving its technical authority, but also to take a step forward into audiovisual modernity. However, this attempt to modernize its appearance affects almost entirely its outer surface; given that under this patina of modernity underlie many of the classical features spread out along the History of Cinema. The current paper aims to provide evidence of the constant return to classical filmic postulates through the currently color-correction technology, as well as to discover two distinctive tendencies of the contemporary era: Psychological Expressionism and Chromatic Naturalism. Both factors, facilitated by digital chromatic correction, will offer innovation to the standardized vision of colour treatment.
TL;DR: The presente trabajo tiene por objeto fomentar una cultura educativa del Sumak Kawsay (vivir en plenitud) como posible respuesta comunitaria, enfocada en la madurez de la formacion de la persona a traves de una propuesta de dialogo con los posibles significados que encarna la obra del pintor ecuatoriano Oswaldo Guayasamin, quien interpela al espectador a un c
Abstract: El presente trabajo tiene por objeto fomentar una cultura educativa del Sumak Kawsay (vivir en plenitud) como posible respuesta comunitaria, enfocada en la madurez de la formacion de la persona a traves de una propuesta de dialogo con los posibles significados que encarna la obra del pintor ecuatoriano Oswaldo Guayasamin, quien interpela al espectador a un cambio en su mirada desde una cosmovision latinoamericana; concretamente se parte de sus trabajos titulados “Madre y nino”, “Espana”, “Mutilados” y “Origen”. Asi, y ante la dificultad de incluir en la ensenanza temas radicales, e incardinados en la propuesta politica y educativa del buen vivir (fundamentalmente madurativos) como la muerte, el dialogo, la conciencia de finitud y de pertenencia a la naturaleza, conciencia planetaria o de especie, o el propio egocentrismo; se invita a un debate “enculturizador” en el contexto de su planteamiento artistico que pueda coadyuvar a su normalizacion en un escenario presidido por el escepticismo de la comunidad educativa, escasa presencia en los disenos curriculares, carente formacion del profesorado y recelos culturales en este gremio, familia y sociedad.
TL;DR: The Imagen de Yagul (1973) as discussed by the authors, realizada en the ruinas arqueologicas de YAGUL (Oaxaca, Mexico), is one of the obras relevantes de la carrera de Mendieta.
Abstract: El arte precolombino ha sido empleado por muchos artistas como un referente, en determinados casos, con la intencion de recuperar un legado cultural desaparecido. En esta investigacion conoceremos una de estas experiencias analizando una de las obras mas relevantes de la carrera de Ana Mendieta: Imagen de Yagul (1973), realizada en las ruinas arqueologicas de Yagul (Oaxaca, Mexico). Apoyandonos en las investigaciones de otros autores descubriremos cual es la relacion que existe entre la obra y su referente, cual fue el evento que historicamente origino este interes y, finalmente, cual es el concepto que la artista rescato del mundo precolombino, fundamental para comprender sus obras de arte.
TL;DR: In this paper, the authors present in a summarized way all the processes and materials that artists use with the aim of creating works with paper pulps, and the main part of this work shows some of the multiples possibilities and expresive combinations that pastes made up by artists offer.
Abstract: In the artistic creation, paper is one of the materials which is used as an indispensable support due to its great versatility. So, there are a lot of artists working with this material in their different configurations. In this way, we find artistic works that consider paper as a support and building material with which we can create and combine different plastic elements. Therefore, this work is an investigation which presents in a summarized way all the processes and materials that artists use with the aim of creating works with paper pulps. The main part of this work shows some of the multiples possibilities and expresive combinations that pastes made up by artists offer. They are described all the processes, tools and materials which are used in the works. Besides, diverse variations by the artists are included to optimize the expresive character. Works researched in this article are from artists with recognized international prestige as Chuck Close, David hockney, Bill Weege or Lucio Munoz.
TL;DR: In this paper, a joint analysis of two paintings by Jan Vermeer, examining their compositional elements and the objects they depict, along with the use of academic literature about the painter and Dutch art of the seventeenth century, is proposed.
Abstract: Based on the joint analysis of two paintings by Jan Vermeer, examining their compositional elements and the objects they depict, along with the use of academic literature about the painter and Dutch art of the seventeenth century, a study is proposed on the problems that these paintings raise to the observer and its relations with the painter and the image, between the pieces and the whole. Our proposal is that Vermeer shows that painting based on perspective is as illusionist and manipulated as the vision of the world that we have in maps, charts and globes, all represented in the paintings analyzed here, where the painter seems to be one of the first to realize that these are a distortion of the world and not its accurate representation. This self-awareness of its own practice that can be found in Vermeer, produces that the subject of these two paintings, when analyzed together, is our own vision and its problems when faced with different visual devices.
TL;DR: In this article, the authors introduce a rubric of assessment for artistic-creative subjects in the degree in Industrial Design Engineering and Product Development at the Polytechnic University of Madrid.
Abstract: The inclusion of artistic-creative subjects in the Degree in Industrial Design Engineering and Product Development at the Polytechnic University of Madrid leads us to think about evaluation methods that can reinforce the concept of objectivity The rubric of assessment is introduced in order to facilitate the concepts that are going to be evaluated Students will know in advance these concepts so they will work with the objective of acquiring the best marks for their proposals We consider that the rubric will appear to the student as an objective tool for them to be evaluated The student will work knowing all the criteria so they will think about the aims previously shown We also want them to collaborate in their assessment in a thoughtful way We want them to be trained in a critical vision of their work During this study we have worked with two subjects of the degree in engineering in industrial design and product development and the double degree in engineering in industrial design and mechanics during the 2017-2018 school year and the participation of 210 students
TL;DR: In this paper, it is revealed that any effect of reality is always the product of textual forces that either simulates a particular naturalness (fruit of a realistic point of view) or tend to direct falsification (a corollary of the absence of any metaphysical belief), and a classic concept of image (as a double) is shifted to recognize the structural changes of a cinema that recovers part of the Hollywood classicism and part of European modernity.
Abstract: This article, a research product, aims to show, how the image operates in contemporary cinema, which is situated in a narrative of counterfeiting and simulation. It is revealed that any effect of reality is always the product of textual forces that either simulates a particular naturalness (fruit of a realistic point of view) or tend to direct falsification (a corollary of the absence of any metaphysical belief). In the same way, a classic concept of image (as a double) is shifted to recognize the structural changes of a cinema that recovers part of the Hollywood classicism and part of European modernity. Following the guidelines of the case studies from an opinion sample (intentional, nonstatistical), two films are taken as corpus (unit of work): Gravity (2013), Alfonso Cuaron and Speed Racer, (2007) by Lily and Lana Wachowski.
TL;DR: In this paper, the authors examined the components that according to the French philosopher characterize the artistic task and then placed them in the particular context of painting, and the text approached certain operative principles of pictorial praxis, which, together with the behavior of color and materials, would determine in Merleau-Ponty's opinion the idiosyncrasy of the medium.
Abstract: Although they did not have a didactic function as such, the texts on painting by the philosopher Maurice Merleau-Ponty (1908-1961) contain appreciations that could constitute a propaedeutic of the medium. In order to test this possibility, the article examines in the first instance the components that according to the French philosopher characterize the artistic task –body, gesture, expression– and then places them in the particular context of painting. Once this framework has been set, the text approaches certain operative principles of pictorial praxis –spontaneity, instantaneity, simultaneity– which, together with the behavior of color and materials, would determine in Merleau-Ponty’s opinion the idiosyncrasy of the medium and thus some useful keys for its eventual learning.