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Theories of Art: 1. From Plato to Winckelmann
by Moshe BaraschIn this volume, the third in his classic series of texts surveying the history of art theory, Moshe Barasch traces the hidden patterns and interlocking themes in the study of art, from Impressionism to Abstract Art. Barasch details the immense social changes in the creation, presentation, and reception of art which have set the history of art theory on a vertiginous new course: the decreased relevance of workshops and art schools; the replacement of the treatise by the critical review; and the interrelation of new modes of scientific inquiry with artistic theory and praxis. The consequent changes in the ways in which critics as well as artists conceptualized paintings and sculptures were radical, marked by an obsession with intense, immediate sensory experiences, psychological reflection on the effects of art, and a magnetic pull to the exotic and alien, making for the most exciting and fertile period in the history of art criticism.
Theories of Art: 2. From Winckelmann to Baudelaire (Theories Of Art Ser. #Vol. 2)
by Moshe BaraschFirst published in 2001. Routledge is an imprint of Taylor & Francis, an informa company.
Theories of Art: 3. From Impressionism to Kandinsky (Thoeries Of Art Ser. #Vol. 3)
by Moshe BaraschFirst published in 2001. Routledge is an imprint of Taylor & Francis, an informa company.
Theories of Modern Art: A Source Book by Artists and Critics (California Studies in the History of Art #11)
by Peter Selz Joshua C. Taylor Herschel B. ChippHerschel B. Chipp's Theories of Modern Art: A Source Book By Artists and Critics is a collection of texts from letters, manifestos, notes and interviews. Sources include, as the title says, artists and critics—some expected, like van Gogh, Gauguin, Apollinaire, Mondrian, Greenberg, just to name a few—and some less so: Trotsky and Hitler, in the section on Art and Politics. The book is a wonderful resource and insight into the way artists think and work.
Theories of Modern Art: A Source Book by Artists and Critics (California Studies in the History of Art #11)
by Herschel B. ChippHerschel B. Chipp's Theories of Modern Art: A Source Book By Artists and Critics is a collection of texts from letters, manifestos, notes and interviews. Sources include, as the title says, artists and critics—some expected, like van Gogh, Gauguin, Apollinaire, Mondrian, Greenberg, just to name a few—and some less so: Trotsky and Hitler, in the section on Art and Politics. The book is a wonderful resource and insight into the way artists think and work.
Theorising and Designing Immersive Environments: Enchanting Spaces (Palgrave Studies in Performance and Technology)
by Ágnes-Karolina Bakk Péter Kristóf MakaiThis edited volume discusses the topic of immersion, approaching it from the perspective of various media and stakeholders: experiencers and creators. While the concept of immersion has gained widespread currency in the last decades beyond video games, its critical theory has not reached the same momentum, meaning that there is no unified way of using the term. This causes many misunderstandings and stands as an obstacle to successful expectation management processes, especially in the entertainment industry. This book presents a nuanced platform of discussion to answer the question of how immersion can manifest itself in different media, and how creators are embracing the current trends within the experience economy.
Theorising the Artist Interview (Routledge Research in Art History)
by Lucia Farinati Jennifer ThatcherReflecting on the relationship between artists and their audiences, this book examines how artists have presented themselves publicly through interviews and sought to establish a critical voice for themselves.Considering the interview as a form of cultural production, contributors explore the criteria for determining the artist interview as a distinct field of research in relation to other cultural fields. Structured in four parts, ‘History and Historiography’, ‘Subverting the Biographical Model’, ‘Interviews as Practice’ and ‘Materiality and Technology’, the book takes an interdisciplinary approach that encompasses the fields of art history, fine art, oral history, curating, media studies and museum conservation. By theorising the artist interview as a form of cultural production and embracing it as a co-constructed critical practice, this volume aims to show and encourage an approach to art history which dismantles old hierarchies in favour of valuing dialogue and collaboration.The book will be of interest to scholars working in art history, museum studies, oral history and historiography.
Theorizing Art Cinemas: Foreign, Cult, Avant-Garde, and Beyond
by David AndrewsThe term "art cinema" has been applied to many cinematic projects, including the film d'art m ovement, t he p ostwar a vantgardes, various Asian new waves, the New Hollywood, and American indie films, but until now no one has actually defined what "art cinema" is. Turning the traditional, highbrow notion of art cinema on its head, Theorizing Art Cinemas takes a flexible, inclusive approach that views art cinema as a predictable way of valuing movies as "art" movies--an activity that has occurred across film history and across film subcultures--rather than as a traditional genre in the sense of a distinct set of forms or a closed historical period or movement. David Andrews opens with a history of the art cinema "supergenre" from the early days of silent movies to the postwar European invasion that brought Italian Neorealism, the French New Wave, and the New German Cinema to the forefront and led to the development of auteur theory. He then discusses the mechanics of art cinema, from art houses, film festivals, and the academic discipline of film studies, to the audiences and distribution systems for art cinema as a whole. This wide-ranging approach allows Andrews to develop a theory that encompasses both the high and low ends of art cinema in all of its different aspects, including world cinema, avant-garde films, experimental films, and cult cinema. All of these art cinemas, according to Andrews, share an emphasis on quality, authorship, and anticommercialism, whether the film in question is film festival favorite or a midnight movie.
Theorizing Built Form and Culture: The Legacy of Amos Rapoport (Routledge Research in Architecture)
by Kapila D. Silva Nisha A. FernandoIn this collection of essays, Theorizing Built Form and Culture: The Legacy of Amos Rapoport – a felicitation volume to celebrate the significance of Professor Amos Rapoport's lifelong scholarship – scholars from around the world discuss the analytical relevance, expansion, and continuing application of these contributions in developing an advanced understanding of mutual relationships between people and built environments across cultures.Professor Amos Rapoport has espoused an intellectual and theoretical legacy on environmental design scholarship that explains how cultural factors play a significant role in the ways people create and use environments as well as the way environments, in turn, influence people’s behavior. This volume presents a hitherto-not-seen, unique, and singular work that simultaneously articulates a cohesive framework of Rapoport’s architectural theories and demonstrates how that theoretical approach be used in architectural inquiry, education, and practice across environmental scales, types, and cultural contexts. It also acknowledges, for the very first time, how this theoretical legacy has pioneered the decolonizing of the Eurocentric approaches to architectural inquiry and has thus privileged an inclusive, cross-cultural perspective that laid the groundwork to understand and analyze non-Western design traditions. The book thus reflects a wide range of cross-cultural and cross-contextual range to which Professor Rapoport’s theories apply, a general notion of theoretical validity he always advocated for in his own writings.The volume is a paramount source for scholars and students of architecture who are interested in understanding how culture mediates the creation, use, and preservation of the built environment.
Theorizing Colonial Cinema: Reframing Production, Circulation, and Consumption of Film in Asia (New Directions in National Cinemas)
by Aaron Gerow Zhen Zhang Yiman Wang José B. Capino Nadine Chan Jane Marie Gaines Thomas A. Barker Nikki J. LeeTheorizing Colonial Cinema is a millennial retrospective on the entangled intimacy between film and colonialism from film's global inception to contemporary legacies in and of Asia. The volume engages new perspectives by asking how prior discussions on film form, theory, history, and ideology may be challenged by centering the colonial question rather than relegating it to the periphery. To that end, contributors begin by excavating little-known archives and perspectives from the colonies as a departure from a prevailing focus on Europe's imperial histories and archives about the colonies. The collection pinpoints various forms of devaluation and misrecognition both in and beyond the region that continue to relegate local voices to the margins. This pathbreaking study on global film history advances prior scholarship by bringing together an array of established and new interdisciplinary voices from film studies, Asian studies, and postcolonial studies to consider how the present is continually haunted by the colonial past.
Theorizing Digital Cultural Heritage: A Critical Discourse
by Fiona Cameron Sarah KenderdineIn Theorizing Digital Cultural Heritage, experts offer a critical and theoretical appraisal of the uses of digital media by cultural heritage institutions. Previous discussions of cultural heritage and digital technology have left the subject largely unmapped in terms of critical theory; the essays in this volume offer this long-missing perspective on the challenges of using digital media in the research, preservation, management, interpretation, and representation of cultural heritage. The contributors--scholars and practitioners from a range of relevant disciplines--ground theory in practice, considering how digital technology might be used to transform institutional cultures, methods, and relationships with audiences. The contributors examine the relationship between material and digital objects in collections of art and indigenous artifacts; the implications of digital technology for knowledge creation, documentation, and the concept of authority; and the possibilities for "virtual cultural heritage"--the preservation and interpretation of cultural and natural heritage through real-time, immersive, and interactive techniques. The essays in Theorizing Digital Cultural Heritagewill serve as a resource for professionals, academics, and students in all fields of cultural heritage, including museums, libraries, galleries, archives, and archaeology, as well as those in education and information technology. The range of issues considered and the diverse disciplines and viewpoints represented point to new directions for an emerging field. Contributors: Nadia Arbach, Juan Antonio Barcelo, Deidre Brown, Fiona Cameron, Erik Champion, Sarah Cook, Jim Cooley, Bharat Dave, Suhas Deshpande, Bernadette Flynn, Maurizio Forte, Kati Geber, Beryl Graham, Susan Hazan, Sarah Kenderdine, Jose Ripper Kos, Harald Kraemer, Ingrid Mason, Gavan McCarthy, Slavko Milekic, Rodrigo Paraizo, Ross Parry, Scot T. Refsland, Helena Robinson, Angelina Russo, Corey Timpson, Marc Tuters, Peter Walsh, Jerry Watkins, Andrea Witcomb Media in Transition series
Theorizing Equity in the Museum: Integrating Perspectives from Research and Practice (Routledge Research in Museum Studies)
by Bronwyn Bevan and Bahia RamosTheorizing Equity in the Museum integrates the perspectives of learning researchers and museum practitioners to shed light on the deep-seated structures that must be accounted for if the field is to move past aspirations and rhetoric and towards more inclusive practices. Written during a time when museums around the world were being forced to reckon with their institutional practices of exclusion; their histories of colonization, both cultural and intellectual; and, for many, their tenuous business models, the chapters leverage a range of theoretical perspectives to explore lived experiences of working in the museum towards changing the museum. Theories of spatial justice, critical pedagogy, culturally relevant pedagogy, critical race theory, and others are used to consider how the museum’s dominant cultural structures and norms collide with museum professionals’ aspirations for inclusive practices. The chapters present a mix of empirical research and reflections, which collectively operate to theorize the museum as a potential force for enriching, empowering, and transforming an inclusive public’s relationship with some of our most powerful ideas and aspirations. But first they must change, from the inside out. Grounded in practice and practical problems, Theorizing Equity in the Museum demonstrates how theory can be used as a practical tool for change. As a result the book will be of interest to academics and students engaged in the study of museums, education, learning and culture, as well as to museum practitioners with an interest in equity and inclusion.
Theorizing Film Acting (Routledge Advances in Film Studies)
by Aaron TaylorThis comprehensive collection provides theoretical accounts of the grounds and phenomenon of film acting. The volume features entries by some of the most prominent scholars on film acting who collectively represent the various theoretical traditions that constitute the discipline of film studies. Each section proposes novel ways of considering the recurring motifs in academic enquiries into film acting, including: (1) the mutually contingent problematic of description and interpretation, (2) the intricacies of bodily dynamics and their reception by audiences, (3) the significance of star performance, and (4) the impact of evolving technologies and film styles on acting traditions.
Theorizing Stupid Media: De-Naturalizing Story Structures in the Cinematic, Televisual, and Videogames
by Julian Hoxter Aaron KernerThis book explores the stupid as it manifests in media—the cinema, television and streamed content, and videogames. The stupid is theorized not as a pejorative term but to address media that “fails” to conform to established narrative conventions, often surfacing at evolutionary moments. The Transformers franchise is often dismissed as being stupid because its stylistic vernacular privileges kinetic qualities over conventional narration. Similarly, the stupid is often present in genre fails like mother!, or in instances of narrative dissonance—joyously in Adventure Time; more controversially in Gone Home— where a story “feels off” It also manifests in “ludonarrative dissonance” when gameplay and narrative seemingly run counter to one another in videogames like Undertale and Bioshock. This book is addressed to those interested in media that is quirky, spectacle-driven, or generally hard to place—stupid!
Theorizing Visual Studies: Writing Through the Discipline
by James Elkins Maureen Burns Kristi McGuire Alicia Chester Joel KuennenThis forward-thinking collection brings together over sixty essays that invoke images to summon, interpret, and argue with visual studies and its neighboring fields such as art history, media studies, visual anthropology, critical theory, cultural studies, and aesthetics. The product of a multi-year collaboration between graduate students from around the world, spearheaded by James Elkins, this one-of-a-kind anthology is a truly international, interdisciplinary point of entry into cutting-edge visual studies research. The book is fluid in relation to disciplines; it is frequently inventive in relation to guiding theories; it is unpredictable in its allegiance and interest in the past of the discipline—reflecting the ongoing growth of visual studies.
Theorizing a New Agenda for Architecture: An Anthology of Architectural Theory 1965-1995
by Kate NesbittTheorizing a New Agenda for Architecture: An Anthology of ArchitecturalTheory collects in a single volume the most significant essays on architectural theory of the last thirty years. A dynamic period of reexamination of the discipline, the postmodern eraproduced widely divergent and radical viewpoints on issues of making, meaning, history, and the city. Among the paradigms presented arearchitectural postmodernism, phenomenology, semiotics, poststructuralism, deconstruction, and feminism. By gathering these influential articles from a vast array of books and journals into a comprehensive anthology, Kate Nesbitt has created a resource of great value. Indispensable to professors and students of architecture and architectural theory, Theorizing a New Agenda also serves practitioners and the general public, as Nesbitt provides an overview, a thematic structure, and a critical introduction to each essay. The list of authors in Theorizing a New Agenda reads like a "Who's Who" of contemporary architectural thought: Tadao Ando, Giulio Carlo Argan, Alan Colquhoun, Jacques Derrida, Peter Eisenman, Marco Frascari, Kenneth Frampton, Diane Ghirardo, Vittorio Gregotti, Karsten Harries, Rem Koolhaas, Christian Norberg-Schulz, Aldo Rossi, Colin Rowe, Thomas Schumacher, Ignasi de Sol-Morales Rubi, Bernard Tschumi, Robert Venturi and Denise Scott Brown, and Anthony Vidler. A bibliography and notes on all the contributors are also included.
Theory and Applications of Smart Cameras
by Chong-Min KyungThis book presents an overview of smart camera systems, considering practical applications but also reviewing fundamental aspects of the underlying technology. It introduces in a tutorial style the principles of sensing and signal processing, and also describes topics such as wireless connection to the Internet of Things (IoT) which is expected to be the biggest market for smart cameras. It is an excellent guide to the fundamental of smart camera technology, and the chapters complement each other well as the authors have worked as a team under the auspice of GFP(Global Frontier Project), the largest-scale funded research in Korea. This is the third of three books based on the Integrated Smart Sensors research project, which describe the development of innovative devices, circuits, and system-level enabling technologies. The aim of the project was to develop common platforms on which various devices and sensors can be loaded, and to create systems offering significant improvements in information processing speed, energy usage, and size. This book contains extensive reference lists, introduces the reader to the subject in a tutorial style and also reviews state-of-the-art results, which allows it to be used as a guide for starting researchers.
Theory and Design of Seismic Resistant Steel Frames
by Federico Mazzolani Vincenzo PilusoA state-of-the-art summary of recent developments in the behaviour, analysis and design of seismic resistant steel frames. Much more than a simple background volume, it gives the most recent results which can be used in the near future to improve the codified recommendations for steel structures in seismic zones. It contains new material which cann
Theory and Practice in Eighteenth-Century Dance: The German-French Connection (Studies in Seventeenth- and Eighteenth-Century Art and Culture)
by Tilden RussellThis book is about the intersection of two evolving dance-historical realms—theory and practice—during the first two decades of the eighteenth century. France was the source of works on notation, choreography, and repertoire that dominated European dance practice until the 1780s. While these French inventions were welcomed and used in Germany, German dance writers responded by producing an important body of work on dance theory. This book examines consequences in Germany of this asymmetrical confrontation of dance perspectives. Between 1703 and 1717 in Germany, a coherent theory of dance was postulated that called itself dance theory, comprehended why it was a theory, and clearly, rationally distinguished itself from practice. This flowering of dance-theoretical writing was contemporaneous with the appearance of Beauchamps-Feuillet notation in the Chorégraphie of Raoul Auger Feuillet (Paris, 1700, 1701). Beauchamps-Feuillet notation was the ideal written representation of the dance style known as la belle danse and practiced in both the ballroom and the theater. Its publication enabled the spread of belle danse to the French provinces and internationally. This spread encouraged the publication of new practical works (manuals, choreographies, recueils) on how to make steps and how to dance current dances, as well as of new dance treatises, in different languages. The Rechtschaffener Tantzmeister, by Gottfried Taubert (Leipzig, 1717), includes a translated edition of Feuillet’s Chorégraphie. Theory and Practice in Eighteenth-Century Dance addresses how Taubert and his contemporary German authors of dance treatises (Samuel Rudolph Behr, Johann Pasch, Louis Bonin) became familiar with Beauchamps-Feuillet notation and acknowledged the Chorégraphie in their own work, and how Taubert’s translation of the Chorégraphie spread its influence northward and eastward in Europe. This book also examines the personal and literary interrelationships between the German writers on dance between 1703 and 1717 and their invention of a theoria of dance as a counterbalance to dance praxis, comparing their dance-theoretical ideas with those of John Weaver in England, and assimilating them all in a cohesive and inclusive description of dance theory in Europe by 1721. Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
Theory and Practice of Perspective
by G. A. StoreyLeonardo da Vinci declared that the first lessons for all aspiring artists should involve perspective, and this authoritative guide assists artists at all levels in following the master's advice. Its scores of concise chapters cover a vast range of subjects, offering a comprehensive view of one of art's most difficult challenges: the accurate re-creation of natural perspective. Discussions of theory encompass definitions, both scientific and informal; the horizon and the points of sight and distance; and rules and conditions of perspective. The majority of the text examines the practice of perspective, featuring instruction on how to reproduce shape, distance, proportion, shade, shadow, reflection, and other aspects that endow two-dimensional works with lifelike qualities. More than 300 illustrations and diagrams make this an exceptionally clear and thorough treatment and an essential guide for students of art, architecture, and design.
Theory and Praxis: Reflections on the Colonization of Knowledge
by Potter Murzban Jal Jyoti BawaneThis book proposes a New Enlightenment – a new way of looking at the non-Western world. Breaking new ground, the essays chart a course beyond Eurocentric discourses (which completely ignore the contributions of Asia, Africa and Latin-America) and forms of nativism (which are usually ethnocentric discourses). The volume: Focuses on the historical aspects of knowledge-production and its colonization; Examines the genre of multilinear histories that displaces hegemonic Eurocentric discourses; Enlarges the scope of multilinear historicism whereby Asia, Europe, Africa and the Americas are drawn in a new humanistic knowledge system; Studies how colonization is resisted in both the non-Western and Western world. Lucid and engaging, this book will be of great interest to scholars and researchers of social theory, education, politics and public policy.
Theory for Art History: Adapted from Theory for Religious Studies, by William E. Deal and Timothy K. Beal
by Jae EmerlingTheory for Art History provides clear and concise introductions to thirty key figures of contemporary theory: four essential predecessors – Freud, Marx, Nietzsche, and Saussure – and twenty-six major moderns from Adorno to Spivak. This book includes key concepts, biography, survey of work, bibliography of primary texts, and a bibliography of secondary criticism. Adapted from Theory for Religious Studies, by William E. Deal and Timothy K. Beal.
Theory in Landscape Architecture: A Reader (Penn Studies In Landscape Architecture)
by Simon SwaffieldHere, for students and practitioners of landscape architecture, architecture, and planning, is a single resource for seminal theoretical texts in the field. Essential for understanding the specific connections that have been made between landscape and social, cultural, and political structures, Theory in Landscape Architecture reminds readers that the discipline of landscape architecture can be both practical and formally challenging. <p><p> Covering the past fifty years of theory, this primer makes an important contribution to a student's emerging professional ethics.
Theory in Planning Research (Planning, Environment, Cities)
by Yvonne RydinDoing research is an essential element of almost all programmes in planning studies as well as related areas such as geography and urban studies, from undergraduate, through Masters to doctoral programmes. While most texts on such research emphasise methodologies, this book is unique in addressing how theoretical frameworks and perspectives can inform research activity. Providing both a concise introduction to a wide range of such theories and detailed engagement with cases of planning research, it provides the reader with the insights necessary to conduct theory-informed research. It offers an understanding of how the choice of a theoretical framework has implications for the focus of the research, the precise research questions addressed and the methodologies that will be most effective in answering those questions. Through practical advice and published examples it will support planning researchers in doing stronger, more widely-applicable research, which answers key questions about planning systems and their role within our societies.
Theory of Colours: Translated From The German, With Notes (Dover Fine Art, History Of Art Series)
by Johann Wolfgang Goethe Charles L. EastlakeThe wavelength theory of light and color had been firmly established by the time the great German poet published his Theory of Colours in 1810. Nevertheless, Goethe believed that the theory derived from a fundamental error, in which an incidental result was mistaken for a elemental principle. Far from affecting a knowledge of physics, he maintained that such a background would inhibit understanding. The conclusions Goethe draws here rest entirely upon his personal observations.This volume does not have to be studied to be appreciated. The author's subjective theory of colors permits him to speak persuasively of color harmony and aesthetics. These notions may evoke a positive response on their merits, but even among those who regard them as pure fantasy, the grace and style of Goethe's exposition provide abundant rewards. Although his scientific reasoning on this subject has long since been dismissed, modern readers continue to appreciate the beauty and sweep of Goethe's conjectures regarding the connection between color and philosophical ideas. In addition, he offers insights into early 19th-century beliefs and modes of thought as well as a taste of European life during the Enlightenment.