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Senses of Touch anatomizes the uniquely human hand as a rhetorical figure for dignity and deformity in early modern culture. It concerns a valuational shift from the contemplative ideal, as signified by the sense of sight, to an active reality, as signified by the sense of touch. From posture to piety, from manicure to magic, the book discovers touch in a critical period of its historical development, in anatomy and society. It features new interpretations of two landmarks of western civilization: Michelangelo's fresco of the Creation of Adam and Calvin's doctrine of election. It also accords special attention to the typing of women as sensual creatures by using their hands as a heuristic. Its alternative interpretations explore in theory and in practice the sensuality, the creativity, and the plain utility of hands, thus integrating biology and culture.
Human body (Philosophy) --- Touch --- Hand --- History --- 364.4 --- Body, Human (Philosophy) --- -Hand --- -Touch --- -Feeling --- Haptic sense --- Haptics --- Tactile perception --- Tactual perception --- Somesthesia --- Hands --- Paw --- Paws --- Arm --- Left- and right-handedness --- Philosophy --- Hulpverlening. Bijstand --- -Miscellanea --- Miscellanea --- -Hulpverlening. Bijstand --- 364.4 Hulpverlening. Bijstand --- -364.4 Hulpverlening. Bijstand --- Feeling --- Body [Human ] (Philosophy) --- 16th century --- Corps (Philosophie) --- Histoire --- Miscellanea. --- Michelangelo Buonarroti, --- Calvin, Jean, --- Human body (Philosophy) - History - 16th century --- Touch - Miscellanea --- Hand - Miscellanea --- Mano --- Tatto --- Iconografia --- Sec. 16
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Cet ouvrage, constitué par les actes du colloque "Contact" organisé sous la direction de Sylvie Coëllier, inaugure la nouvelle collection "Arts" des PUP. Il s'insère dans la série des travaux "Théorie et pratique des arts" émanant du LESA. La publication propose une interrogation esthétique et historique de la notion de contact dans le domaine des arts plastiques au XXe siècle. Une première partie circonscrit le champ de la notion à travers les approches, fort différentes mais non divergentes, de l'artiste Cherokee Jimmie Durham, d'un physicien explorant tactilement les nanomindes et d'un philosophe. Les autres textes dessinent une histoire de la notion dans l'art du XXe siècle allant de l'haptique et du fusionnel à la tactilité intimiste ou au choc. Les oeuvres interrogées à cette intention ont été réalisées par des artistes nombreux et divers : Marcel Duchamp, Raoul Hausmann, les expressionnistes allemands, Brancusi, Barnett, Newman et Rothko, Hantaï et quelques membres de Supports-Surfaces, Vito Acconci, Valie Export et Yoko Ono, Richard Serra, Michael Snow, Luciano Fabro, l'argentin Fabian Marcaccio, l'atelier Lieshout, Marie-Ange Guilleminot et Gabriel Orozsco.
Art, Modern --- Avant-garde (Aesthetics) --- Human body --- Aesthetics, Modern --- Art --- Avant-garde (Esthétique) --- Corps humain --- Esthétique moderne --- History --- Histoire --- Interpersonal communication --- Touch --- Themes, motives --- Conferences - Meetings --- Avant-garde (Esthétique) --- Esthétique moderne --- Feeling --- Haptic sense --- Haptics --- Tactile perception --- Tactual perception --- Somesthesia --- Aesthetics --- Modernism (Art) --- Modern art --- Nieuwe Ploeg (Group of artists) --- Art, Modern - 20th century - Themes, motives - Congresses --- Avant-garde (Aesthetics) - History - 20th century - Congresses --- Aesthetics, Modern - 20th century - Congresses --- Interpersonal communication - Congresses --- Touch - Congresses
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