Design/Arts/Culture最新文献

{"title":"RENEWAL OF THE GREEK ILLUSTRATED CHILDREN’S BOOK DURING THE METAPOLITEFSI","authors":"Ioanna Delfino","doi":"10.12681/dac.31359","DOIUrl":"https://doi.org/10.12681/dac.31359","url":null,"abstract":"With the restoration of democracy in Greece in 1974 a period of transition began, known as metapolitefsi, which saw deep political, social and economic changes. Progressive developments also occurred in art, culture and education. The rules of the new pedagogy affected the field of literature and more specifically children’s illustrated books. Thus, writers departed from the old conservative models, dominated by protectionism and superficial idealism. Instead, they introduced political, social and environmental concerns, while the language became friendlier and modern. At the same time, illustrators such as Kyritsopoulos, Zarampouka, Fakinou, Maroulakis, Psaraki a.s.o., begin to move away from the dry literalness and naive realism of most of their predecessors. They draw on a wide range of sources, from cartoons to abstraction and from Art Nouveau to Pop Art, they experiment with techniques never before used in Greek book illustration, and use innovative symbolism to convey textual meanings. Their style becomes intimate, imaginative and humorous. Pictures are no longer a merely decorative accompaniment to the text which is particularly important. They often cover the entire surface of the page, and play a decisive role in the development of the story. In short, they become central to the experience of the book. It is no coincidence that the young illustrators of the 70s and 80s often wrote their own texts. Typography, too, escapes from strict rules. Handwritten lettering, previously unheard of in Greek books, is often used on covers and title pages. Overall, during the early years of the Greek metapolitefsi, children’s illustrated books changed radically and caught up with international developments. The predictable layout and obvious didacticism of previous decades, especially during the military junta (1967-1974), gave way to sophistication, sensitivity and wit, fresh and intelligent ways of introducing children to real-life social and ethical issues.","PeriodicalId":103857,"journal":{"name":"Design/Arts/Culture","volume":"80 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128339077","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"M[EMOR]YTH","authors":"Razvan Clondir","doi":"10.12681/dac.33988","DOIUrl":"https://doi.org/10.12681/dac.33988","url":null,"abstract":"The visual experiment proposed by my portfolio is the result of current technologies integrated into the creative process. Using mobile devices, I capture static or video images, I record sounds. I can locate and set a multitude of technical parameters of the collected multimedia material; I can precisely locate the place where I take them. In the experiment, which I called “open work”, I used all the technology-mediated information to create an application that would infinitely assemble the digital material input in order to create collages or fragments of physical space through digital memory. Anyone can input the digital materials obtained in the same location in the application, each contribution is a personal vision of the place. This portfolio is one of the many artistic outcomes of the experiment.","PeriodicalId":103857,"journal":{"name":"Design/Arts/Culture","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129968424","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"THE PICTURE AS A RESULT OF MEMORY IN NEMERE KEREZSI'`S ART","authors":"Iolanda Anastasiei","doi":"10.12681/dac.31333","DOIUrl":"https://doi.org/10.12681/dac.31333","url":null,"abstract":"In this paper I focus on a case study concerning Nemere Kerezsi’s artistic approach presented in the exhibition Nemere Kerezsi: Thiemann-Etüde (Quadro Gallery, Cluj-Napoca, 13th of May – 24th of June 2022). The aim of this article is to analyze the close relationship between memory and image, starting from the way the artist observes and researches the memory and narratives created around places, which he claims as the central resource for the creation of his works present in the Thiemann-Etüde exhibition. The artist systematically starts from the micro framework of personal memories and narratives, which are then recorded and reproduced, through suggestive images, for the macro framework of the Anthropocene topic of the current history. Thus, the theoretical debates on the issue of the Anthropocene are relevant in this context, because the artist captures through a diversified visual language (video, photography, sculpture, installation etc.) the cultural-artificial intervention of man on nature and the consequences of this intrusion. Starting from the premise that the natural environment and history present themselves more and more as a result built on the basis of the interconnection of people who fabricate communities, Nemere Kerezsi developed his artistic approach similar to anthropological research. Namely, the artist collects subtle data about the personal memory of different places he’s visited, in order to generate the “image of an experience”.","PeriodicalId":103857,"journal":{"name":"Design/Arts/Culture","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131654865","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"MYTHS OR MEMORIES","authors":"Prodromos Manou","doi":"10.12681/dac.31503","DOIUrl":"https://doi.org/10.12681/dac.31503","url":null,"abstract":"In the old times, not so old and distant as we think now, the elders also known as ‘the moonstruck’ would gather after a long day at work around a fire, a hearth, and as they removed the weariness of the whole day, they would invite the younger members of the family and would share their memories. Stories of their past, stories they heard of or seen with their own eyes, stories they witnessed and stories they only listened to. Stories so old, from memories faded, forgotten, narratives of incidents changed, that connect with events leading to legends, and folk tales. Tales born from tradition and memory. A very old memory, with a plot easy to understand and usually local - a place near the place of those storytellers. Those entertainers of the not so far away world, would produce images in the minds of their audience, colours and forms as they were responsible for keeping that legend and memory alive. The result of that storytelling around the fire was thousands of images. Then the images would turn to words from that young audience that would grow older and become those elder near the fireplace. It was their time to disseminate the images in the heads of the next generation, and keep those memories alive.","PeriodicalId":103857,"journal":{"name":"Design/Arts/Culture","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114436723","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"REPRESENTING THE PAST THROUGH THE MAGIC OF MINIATURES","authors":"Andrei Mențeanu","doi":"10.12681/dac.31223","DOIUrl":"https://doi.org/10.12681/dac.31223","url":null,"abstract":"The visual magic of the miniature world allows the depiction of the past using a combination of advanced contemporary, as well as classical technologies. For the viewer to be transported back in time, the miniature must be a hyper-realistic representation that acts on the viewer's memory and imagination. A miniature, appreciable in size, in which the scenes turn out to be drawn from the reality of the past, constitutes an extremely effective method of actualizing a tragic episode of history. And since miniatures can transform reality into art, they are, simultaneously, artistic compositions.","PeriodicalId":103857,"journal":{"name":"Design/Arts/Culture","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124162292","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"(HI)STORIES","authors":"","doi":"10.12681/dac.31320","DOIUrl":"https://doi.org/10.12681/dac.31320","url":null,"abstract":"The purpose of this paper is to journey through the world of abstract signs, symbols, and images, in an attempt to comprehend the process of constitution of memories, of (hi)stories, of dialects, and of (super)natural realities, as generated by human perceptions of things. Sensitivity and intuition in the process of recording impressions of spaces and places, of nature and of objects, are integral parts of the process of generating and storing memories, shaping associations, and fashioning the storylines that compose our (hi)stories. These are also the sources for comprehending the process by which the mind produces images and other means of communication inventing signs and symbols, composing messages, languages, technologies, and arts. The need to leave a trace is instinctive. Human beings are defined by their capacities to observe, propose ideas, defend hypotheses, and prove objectives. Artistic images and creations, from pre-history to today, convey thoughts, facts, and memories, making the incredible diversity of the human spirit visible. All human actions are based upon cultural, social, and ethical constructions of knowledge, interpretations, awareness, and of engagements. Arts and cultures, then, are mirrors of the journey of civilization, reflecting on the entirety of its expeditions and productions. Imagery and metaphor connect people, continents, philosophies, beliefs, (hi)stories. Languages and arts transcend locations and personal differences, illustrating and enhancing the understanding of realities, ethics, and aesthetics. Nowhere on earth do people exist without language, art, or culture.","PeriodicalId":103857,"journal":{"name":"Design/Arts/Culture","volume":"124 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123191211","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"BEAUTY IS…","authors":"Nina Lasithiotaki","doi":"10.12681/dac.31493","DOIUrl":"https://doi.org/10.12681/dac.31493","url":null,"abstract":"Walter Benjamin aptly describes the dual role of photography, since its invention, saying that “photography stakes a claim to art as soon as it appears as a commodity”. Although fashion has become the subject of significant philosophical and sociological study over the past 150 years, it continues to be a taboo, or merely too lowly a subject for academic consideration – even in modern–day cultural studies. The reason is clear: fashion does not pose an argument; it entices and seduces, constantly looking for a new aesthetic paradigm that will embody the eternal polytheism of Beauty. Photographer Julia Hetta adopts many of the tools and practices of classical painting to capture the paradox and ambiguity of the concept of Beauty, which Victor Hugo likens to Death, noting that: “Death and beauty are two things profound, so of dark and azure, that one might say that they were two sisters terrible and fecund, possessing the one enigma, the one secret.” Hetta illustrates the dualism of the modernist subject with appeals to the imaginary of an insurmountable innocence and purity, as this is captured in depictions of the classical ideal; and precisely therein lies the originality of her gaze. She develops a personal style in photography, featuring strong elements of drama and theatrics. She illustrates the current, the innovative, the radical in the field of human presence and clothing, recalling the cultural deposits of times past, but also imbuing her creations with new rules that detect a subjective and complex beauty.","PeriodicalId":103857,"journal":{"name":"Design/Arts/Culture","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121954293","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"PETER DOIG’S ART AS A SIGNIFICATION OF THE RE-APPEARANCE OF THE SUBLIME IN CONTEMPORARY BRITISH LANDSCAPE PAINTING","authors":"Eftychia Tzanetoulakou","doi":"10.12681/dac.31360","DOIUrl":"https://doi.org/10.12681/dac.31360","url":null,"abstract":"Purpose: The core of this research is the multi-layered and diverse presence of the Sublime in art today, as analysed through the oeuvre of Peter Doig, the contemporary British painter who belongs to the stream of the Young British Artists, which was developed in Great Britain in the 1990s. Topic: The present research begins with the definition of the idea of the Sublime and continues with a historical review of its manifestations in British art. Peter Doig is chosen because it is a suitable field of research into the current image of the Sublime. Methodology: Peter Doig’s work will be thoroughly examined so that the above view can be demonstrated, through a critical analysis of his paintings, and the similarities and differences with the powerful landscape painting of the 19th-century Romanticism that filled the viewer with awe and fear. Doig translates this artistic knowledge into a peculiar, internally experienced image-making that acrobats on the fringes of the established structures of artistic composition, attempting to portray the unpresentable, the timeless, the transcendent, the ambiguous, the illusory, the after-human elements that construct the landscape of Today. The selected works’ analysis is based on the immediacy of representation as an independent carrier of energy of human experience, which leads the artist to re-use the medium of painting. The research continues by examining, through its painting techniques but also via his use of photography and ready-made postcards, the ways in which the artist uses the materiality of the medium to test how the seemingly closed boundaries of representation expand into many fields of feeling, reading and understanding a timeless Now. Result: The research concludes with critical predictions about the directions and the position that the notion of the Sublime may take, starting from the creative codes in the work of Peter Doig. The paper does not seek to build a position based on unshakable, definitive and non-negotiable conclusions, but to constitute an original and thorough academic springboard, with poetic coordinates of aesthetic consideration, in the research on the applications of the painterly Sublime today.","PeriodicalId":103857,"journal":{"name":"Design/Arts/Culture","volume":"63 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117020496","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"PARTICIPATORY ACTIONS, PARTICIPATORY ART, AND RURAL LIFE IN THE POST-INDUSTRIAL CITY OF ASPROPYRGOS","authors":"Emilia Bouriti","doi":"10.12681/dac.31502","DOIUrl":"https://doi.org/10.12681/dac.31502","url":null,"abstract":"The portfolio is a presentation of research and artistic practice used by the artist based on the role of participatory art in her collaboration with the rural Arvanitic community of the post-industrial city of Aspropyrgos. A Greek city located 18 kilometres west of Athens. An example of artistic practice is presented in the international interdisciplinary program \"Amoli - Art and Culture: a collective project in the rural, post-industrial, multicultural community of Aspropyrgos\" (the word 'Amoli' means to the farmers of Aspropyrgos the water through that irrigates the agricultural crops). The program is implemented in Aspropyrgos, a historically rural town, which went through a violent industrial development and is now going through its post-industrial phase, while the intense migration flow shaped the city's multicultural physiognomy. The portfolio presents the participatory actions of a diverse audience involved in the creation of the artistic work consisting of narratives, participation in agricultural work, participatory meals, walking routes, as well as holistic educational actions since the participants, despite belonging to different social groups, learn and collectively gets trained in the above mentioned actions. The above provides food for the creation of interdisciplinary visual works that are presented in rural areas, turning them into modern art spaces and bringing out questions that concern the international community, indicatively such as the value of arable land and food, the link of modern man with nature, the preservation of the cultural heritage of rural communities, the future of spoken languages. The Amoli international program through the practice of participatory art creates projects that respond to the above needs.","PeriodicalId":103857,"journal":{"name":"Design/Arts/Culture","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127026582","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"REVITALIZATION OF CULTURAL IDENTITY USING SIGNS-SYMBOLS","authors":"Cornelia Moțăianu","doi":"10.12681/dac.31649","DOIUrl":"https://doi.org/10.12681/dac.31649","url":null,"abstract":"The preoccupation of many scholars to save the Romanian cultural heritage has been a constant topic. Architects, archaeologists, historians, art historians, and designers compete to preserve the image of the past and the spiritual richness of tradition with the help of various modern technological tools. Visual design is increasingly used in cultural projects. This project of visual design, of revitalizing the cultural identity of a village, wants, not only to bring unknown information about the culture of a place, but is also an invitation to preserve the fascinating value of the identity of the traditional society, represented by the crafts and folk customs that have survived until today. By synthesizing the essence of traditional patterns inherited from the past, an intuitive system of visual identity represented by signs has resulted, which introduced the interested public to the cultural and historical atmosphere of the researched region. These signs become symbolic representations of the village’s tangible and intangible heritage. A sign-symbol was created for each element of the local tradition, which will be part of the infographic that will concisely present certain cultural processes.","PeriodicalId":103857,"journal":{"name":"Design/Arts/Culture","volume":"85 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116684549","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}