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How does artistic practice lead to the production of knowledge? How does, in turn, artistic knowledge relate to its material base? How does contingent materiality guide the artist towards finding form and developing a statement? This volume is dedicated to the object as a process in order to offer new insights into the ways the object - broadly construed, comprising digital and other non-classical objects - becomes an active element in artistic practice.

Art --- Object (Aesthetics). --- Philosophy. --- Art. --- Artistic Practice. --- Cultural Studies. --- Cultural Theory. --- Culture. --- Phenomenology. --- Theory of Art.

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In recent research, there has been growing emphasis on the collaborative, social, and collective nature of musical behaviour and practices. Among the emerging hypotheses in this connection are the idea that listening to music is always listening together and being with the other; that music making is a matter of intercorporeality, mutuality, and emphatic attunement; and that creative agency in musical practices is fundamentally a distributed phenomenon. Chamber music provides an ideal context for the testing and actualization of these notions. This Special Issue on chamber music and the chamber musician aims to explore the psychological, social, cultural, historical, and artistic issues in the practice of classical chamber music in the twenty-first century. Contributions are invited on any of these aspects and issues involved in being a contemporary classical chamber musician. Authors are encouraged to contextualise their research by reference to the recent literature on collaborative musicking, and among the topics they may choose to address are the cultural and musical demands chamber musicians face and the implications of these demands for their artistic practice, the ways the twenty-first-century chamber musicians engage with historical practices, the newly emerging musical identities and artistic roles available to them, and expressivity in current chamber music practices.

artistic practice --- creative agency --- chamber music --- collaborative musicking --- distributed creativity --- expressivity in performance --- intercorporeality --- music performance --- performance practice

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In recent research, there has been growing emphasis on the collaborative, social, and collective nature of musical behaviour and practices. Among the emerging hypotheses in this connection are the idea that listening to music is always listening together and being with the other; that music making is a matter of intercorporeality, mutuality, and emphatic attunement; and that creative agency in musical practices is fundamentally a distributed phenomenon. Chamber music provides an ideal context for the testing and actualization of these notions. This Special Issue on chamber music and the chamber musician aims to explore the psychological, social, cultural, historical, and artistic issues in the practice of classical chamber music in the twenty-first century. Contributions are invited on any of these aspects and issues involved in being a contemporary classical chamber musician. Authors are encouraged to contextualise their research by reference to the recent literature on collaborative musicking, and among the topics they may choose to address are the cultural and musical demands chamber musicians face and the implications of these demands for their artistic practice, the ways the twenty-first-century chamber musicians engage with historical practices, the newly emerging musical identities and artistic roles available to them, and expressivity in current chamber music practices.

The arts --- artistic practice --- creative agency --- chamber music --- collaborative musicking --- distributed creativity --- expressivity in performance --- intercorporeality --- music performance --- performance practice

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In crossed approaches, the themes developed in this book bring a new look at the forms, uses and stakes of artistic lexicography in modern times.In a perspective of circulation of concepts and practices, and permeability of the artistic borders, the word proves to be a precious laboratory of the practice of the artistic practice and a field of exploration of the cultural networks that cross and make Europe .Through the development of a language, books on art whose publications are growing in the north of the Alps from 1600, aim at the construction of a common knowledge for the use of painters and amateurs.Their many translations, published since the modern era, also testify to their role of diffusion agent in constant adaptation to the readership to which they are addressed. Understanding strategies and processes of invention and transfer of specific terminology to aesthetic expression becomes an important issue. Words, indeed, are not interchangeable. By succeeding or overlapping, even if they are contradictory, the different senses give thickness and subtlety to the concept.The journey of a notion into time and space also contributes to broadening our understanding of a cultural history between universality and identity within the artistic diversity that characterizes modern Europe.

The arts --- Painting & paintings --- Literacy --- art theory --- painting --- artistic lexicography --- artistic literature --- artistic practice --- artistic terminology --- Giorgio Vasari --- Giovanni Pietro Bellori --- Karel van Mander --- Paris

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LexArt. The words of painting is a dictionary of terms and concepts, which, from the artistic literature, in a synchronous approach of discourse and artistic practice, describe the painting as it is practiced in France, Germany, England and the Netherlands in the 17th and 18th centuries. These writings constitute the mental, intellectual and visual universe, which makes it possible to better apprehend the work of art, and shape the eye to better see. The purpose of this book is to highlight the stakes of uses resituated in different contexts in time and space, in a confrontation of ways of thinking, painting and watching. Seventy-seven essays address nearly two hundred and fifty notions. The articles respond to each other, and form an ensemble which, behind the alphabetical order of the dictionary, draws the contours of a new reading of the painting seen through the eye of the painter and the eye of the spectator. Indeed, the "speaking painting" does not only introduce the viewer into the painter's studio by showing him the "how to do", he introduces him into the painting itself, shows him what to see and how see.

The arts --- Painting & paintings --- Literacy --- Terminologie artistique Lexicographie artistique --- Théorie de l'art/ Pratique artistique --- Littérature artistique --- Peinture --- Artistic Terminology Artistic Lexicography --- Art Theory --- Artistic Practice --- Artistic Literature --- Painting