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L'essai Sur l'origine de l'activité artistique (1887) est la première critique " moderne " de l'esthétique. Fiedler y démontre qu'une certaine esthétique s'est fourvoyée en liant le destin de l'art à celui de la beauté et au plaisir que le beau nous procure : elle ne fait qu'entériner un bon goût très social. Philosophe de l'art, des arts plastiques, il s'interroge sur la nature de l'activité artistique et se place du côté du créateur et non pas du récepteur. Il met en avant l'association de l'ail et de la main, leur action commune qu'il appelle mouvement expressif. La conscience de l'artiste, sa force de cognition produit une réalité, une visibilité. L'art, loin d'imiter la nature ou de représenter l'idéal, invente des formes d'être et le théoricien doit répandre l'évangile du nouveau que les artistes ont construit dans leurs œuvres. Renvoyant dos-à-dos romantisme et réalisme, la pensée de Fiedler ouvre la voie aux avant-gardes et aux débats contemporains sur les arts.
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Aesthetics --- Creation (Literary, artistic, etc) --- Creation (Literary, artistic, etc.) --- Création (esthétique) --- Esthétique --- Aesthetics.
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"Major statements by the celebrated Russian poet Boris Pasternak (1890-1960)about poetry, inspiration, the creative process, and the significance of artistic/literary creativity in his own life as well as in human life altogether are presented here in direct translation of his own words, and are discussed in the extensive commentaries and introduction. The texts range from 1910 to 1946 and are between two and ninety pages long. There are commentaries on all the texts, as well as a final essay on Pasternak's famous novel, Doctor Zhivago, which is looked at here in the light of what it says on art and inspiration. Although universally acknowledged as one of the great writers of the twentieth century, Pasternak is not yet sufficiently ecognized as the highly original and important thinker that he also was. All his life he thought and wrote about the nature and significance of the experience of inspiration, though he avoided the word "inspiration" where possible, as his own views were not.
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"Major statements by the celebrated Russian poet Boris Pasternak (1890-1960)about poetry, inspiration, the creative process, and the significance of artistic/literary creativity in his own life as well as in human life altogether are presented here in direct translation of his own words, and are discussed in the extensive commentaries and introduction. The texts range from 1910 to 1946 and are between two and ninety pages long. There are commentaries on all the texts, as well as a final essay on Pasternak's famous novel, Doctor Zhivago, which is looked at here in the light of what it says on art and inspiration. Although universally acknowledged as one of the great writers of the twentieth century, Pasternak is not yet sufficiently ecognized as the highly original and important thinker that he also was. All his life he thought and wrote about the nature and significance of the experience of inspiration, though he avoided the word "inspiration" where possible, as his own views were not.
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Creation (Literary, artistic, etc.) --- Time --- Création (Arts) --- Temps
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"Major statements by the celebrated Russian poet Boris Pasternak (1890-1960)about poetry, inspiration, the creative process, and the significance of artistic/literary creativity in his own life as well as in human life altogether are presented here in direct translation of his own words, and are discussed in the extensive commentaries and introduction. The texts range from 1910 to 1946 and are between two and ninety pages long. There are commentaries on all the texts, as well as a final essay on Pasternak's famous novel, Doctor Zhivago, which is looked at here in the light of what it says on art and inspiration. Although universally acknowledged as one of the great writers of the twentieth century, Pasternak is not yet sufficiently ecognized as the highly original and important thinker that he also was. All his life he thought and wrote about the nature and significance of the experience of inspiration, though he avoided the word "inspiration" where possible, as his own views were not.
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Auf welche Art wirkt und überzeugt Design? Was wissen GestalterInnen von den Regeln, die sie, teilweise unbewusst, anwenden? Die zeitgenössische Designforschung entwickelt zunehmend ein Interesse an den rhetorischen Mechanismen der Design-Praxis. Der vorliegende Sammelband stellt die klassische Kommunikationslehre der Rhetorik als eine neue und umfassende Metatheorie des Designs vor. Sie betrifft prinzipiell alle Bereiche heutigen Designs - vom Grafik-Design über die Architektur bis zur Interfacegestaltung. "Design als Rhetorik" führt drei Bereiche zusammen: Das Buch stellt die historisch relevanten Texte vor und bildet als Positionsbestimmung die kontroverse zeitgenössische Diskussion ab. Zudem versammelt es in Fallstudien Beiträge zu den wichtigsten Forschungsfeldern wie etwa "Interaktive Rhetorik", "Rhetorik Design und Gender", "Rhetorik des World Wide Web". How does design convince us? What explains its impact? How aware are designers of the rules they employ - to some extent unknowingly? To an increasing degree, contemporary design research manifests a growing interest in the rhetorical mechanisms of design practice. This anthology reinterprets the classical communication skills of rhetoric as a new and encompassing metatheory for design. It is relevant to all areas of contemporary design - from graphic design to architecture to interface design. Design as Rhetoric joins three realms. By defining positions, it presents the historically relevant texts and outlines the contemporary discussion and its controversies. In case studies, it also assembles contributions on the most important areas of research, for example "Interactive Rhetoric," "The Rhetoric of Design and Gender," and "Rhetoric and the World Wide Web."
Television - Production and direction. --- Design. --- Architectural design. --- Design --- Structural design --- Creation (Literary, artistic, etc.)
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Design --- Design Austria. --- Creation (Literary, artistic, etc.) --- designaustria (Firm) --- DA (Firm) --- Bund Österreichischer Gebrauchsgraphiker
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