Fine Arts, Philosophy

Renklerin insan hissiyatına doğrudan tesir ettiği yaygın olarak benimsenir. Ressamlar, tezhip, minyatür ve ebru sanatçıları, mimarlar, iç mimarlar, tasarımcılar, modacılar, psikologlar gibi sayısız meslek erbabı renklerle doğrudan doğruya ilgilenmek durumundadır. Bazı renkler, insanların büyük çoğunluğunda benzer tepkilere yol açarken kişilerin karakterlerine göre değişen renk yorumları ve tercihleri de söz konusudur.
Renklerin taşıdığı anlamlar ve renk uyumları meselesi oldukça derin bir bahis olmakla birlikte bu çalışmada ele alınan konu, “hat sanatında renk” meselesidir. Türk-İslâm sanatlarının merkezinde yer alan hat sanatı denince genellikle akla ilk olarak siyah mürekkep gelir. Bazı istisnalar dışında, ondört asırdır hat sanatının vazgeçilmeyen rengi siyah olmuştur. Yani hat, öyle bir sanattır ki sadece siyah renk kullanılarak tarih boyunca sayısız eser verilmiştir. Nasıl olmuştur da is rengi koyu bir siyah mürekkepten bu kadar kalıcı bir estetik meydana getirilebilmiştir?

ABSTRACT

One increasingly reads about different aspects of the death of philosophy. One reason or cause being its institutionalization, as just another academic discipline, while research universities demand their tenured professionals to produve endless streams of really irrelevant publications, resulting in dealing with more detailed, microscopic issues and fabricated ‘problems’. The professionalization of philosophers created other problems of this socio-cultural practice.
The dying out of philosophy is not only cased by external social and cultural factors, but also by internal factors such as its methods and those concerning its subject-matter.
I have explored the above in the context of meta-philosophy. In the process I also investigated the nature, the subject-matter and theories of philosophy of art, aesthetics and theory of art. It is mostly about these explorations of art that the contents of this piece is concerned with.
All this is an exercise with words as the verbal means are the traditional instruments of doing philosophy. These tools not only enable the doing of philosophy but also creates limitations and limits to philosophizing. This will remain the case until the discourse develops other (for example visual, auditory, computational, etc) means to develop its many levelled and multi-dimensional practice - and in the process questions and overcomes its anthropo-centered bias.

It is a commonplace in certain areas of art theory and contemporary art practices to consider Marcel Duchamp's ready-mades as ordinary objects, which have an artistic value that depends more on a theoretical or institutional framework than on an aesthetic experience. The aim of this paper is, on the one hand, to show the historical emergence of these artifacts on the light of the impact of the industrial production in avant-garde movements of the early twentieth century. Discussing Walter Benjamin' s and Jean Brun's insights, it argues that Duchamp's practice has an explanatory principle, both in the mechanical reproduction of the work of art and in the aestheticization of the machine. On the other hand, it brings forward some observations regarding Duchamp's insight on the "total lack of good or bad taste" and the perceptual dimension of a sculptural object as the Large Glass, coming back to Arthur Danto's interpretation of ready-mades and to the notion of "implementation" introduced by Nelson Goodman to define "the process of bringing about the aesthetic functioning that provides the basis for the notion of a work of art".

"Visualizing Art History: Experimental Animation and Its Mentor, Jules Engel" by Janeann Dill, phd, mfa

A dictionary begins when it no longer gives the meaning of words, but their tasks.
--- Georges Bataille

It is most often the case when I refer to my work as experimental animation that I am met with the question, what is experimental animation? I am instantly reminded of a story about Louis Armstrong in conversation with Johnny Carson who asked Armstrong, “What is jazz?” Louis Armstrong enthusiastically responded, “Well if you don’t know what it is, I sure as hell can’t tell you!”

In some ways, Louis Armstrong’s response might be said to be universal for questions having to do with art, in that any attempt to offer definition tends to further confuse, bind, constrict and/or be irrelevant, rather than to clarify meaning. As a scholar and as an artist, I am most interested in the unanswerable. As I understand it, to ask the unanswerable is the beginning of an event … if you will, an event of language, timing and gesture, experimentation and conceptualizing. The more important consideration in a “what is ____?” question is not the answer, but the asking.. How is it we know so little about the art form?

Το παρόν έγγραφο/βιβλίο με τίτλο:
ΓΥΝΑΙΚΑ+ΝΕΑ ΕΛΛΗΝΙΚΗ ΤΕΧΝΗ
Καναγκίνη Νίκη
Ντάβου Μπία
Παπασπύρου Ρένα -
αναλύει την σύγχρονη, εννοιολογική ελληνική, αλλά και τη διεθνή τέχνη, από το δέυτερο μισό του 20ου αι, ενώ παράλληλα εστιάζει στη γυναικεία/φεμινιστική τέχνη της Ελλάδας, της οποίας κύριες εκπρόσωποι αποτελούν η Καναγκίνη Ν., η Ντάβου Μπ. και η Παπασπύρου Ρ. Η δε τελευταία διετέλεσε ως η πρώτη γυναίκα Καθηγήτρια της ΑΣΚΤ.

Trends in student persistence and retention capture the attention of academic administrators, but it is in each faculty member's classroom where the greatest opportunity for supporting students' success occurs. This guide presents strategies that every faculty member can implement to fuel their students' educational attainment.