scholarly journals The interpretation of the word-space as a text hierarchy - Based on 'Unison' and 'Basic Plane' concept by Wassily Kandinsky -

2011 ◽  
Vol null (32) ◽  
pp. 459-472
Author(s):  
김병조
Keyword(s):  
Wassily Kandinsky ◽  
Basic Plane

Our Obligation to Future Generations

2018 ◽  
Author(s):  
Amartya Sen
Keyword(s):  
Adam Smith ◽  
Future Generations ◽  
Intergenerational Justice ◽  
Impartial Spectator ◽  
Effective Power ◽  
Basic Plane

Our reasoned sense of obligations to others can arise from at least three possible sources: cooperation, having caused harm, and effective power to improve suffering. The last source, this chapter argues, is particularly important in considering our obligations to future generations. It draws on a line of reasoning that takes us well beyond contractarian motivations to the idea of the “impartial spectator” as developed by Adam Smith. The interests of future generations come into the story because they are important in our attempt to be impartial spectators. The obligation of power contrasts with the mutual obligations for cooperation at the basic plane of motivational justification. In the context of climate concerns and intergenerational justice, this asymmetry-embracing approach seems to allow an easier entry for understanding our obligations.

Marsden Hartley's Letters to Franz Marc and Wassily Kandinsky 1913-1914

1989 ◽  
Vol 29 (1/2) ◽  
pp. 35-44
Author(s):  
Patricia McDonnell ◽  
Marsden Hartley
Keyword(s):  
Wassily Kandinsky

Untangling Geometric Ideas

2014 ◽  
Vol 20 (8) ◽  
pp. 508-515
Author(s):  
Claudia R. Burgess
Keyword(s):  
Problem Solving ◽  
Conceptual Understanding ◽  
Wassily Kandinsky ◽  
Group Cooperation

This geometry lesson uses the work of abstract artist Wassily Kandinsky as a springboard and is intended to promote the conceptual understanding of mathematics through problem solving, group cooperation, mathematical negotiations, and dialogue.

BASIC PLANE SURVEYING

Survey Review ◽  
1981 ◽  
Vol 26 (199) ◽  
pp. 45-48
Author(s):  
B. Chiat ◽  
P. A. Cross ◽  
D. Parker ◽  
S. J. Bennett
Keyword(s):  
Basic Plane

scholarly journals L'azione Efficace nel Teatro del Novecento

2000 ◽  
Vol 7 ◽  
pp. 193
Author(s):  
Marco Marinis
Keyword(s):  
Fin De Siecle ◽  
Wassily Kandinsky ◽  
Fin De Siècle

A partire dalle esperienze fin de siecle dei simbolisti, e dalle ricerche sinestetiche fra pittura musica e teatro di Wassily Kandinsky, l'articolo prende in esame alcuni fra i principali tentativi intrapresi dai maestri della scena contemporanea per fare dei teatro e dello spettacolo gli strumenti di un'azione efficace sullo spcttatore e, prima ancora, sullo stesso attore, soffermandosi in particolare su Eisenstcin, Artaud e Grotowski.

scholarly journals Life of clairvoyant of decadence: introduction in the biography of Alfred Kubin

2016 ◽  
Author(s):  
А.В. Кушнарева
Keyword(s):  
The Other ◽  
Wassily Kandinsky ◽  
Jean Paul ◽  
Georg Trakl

Статья посвящена биографии малоизученного в России австрийского художника, иллюстратора и писателя Альфреда Кубина. Художник был участником таких творческих объединений, как «Новое мюнхенское художественное объединение» и «Синий всадник». Василий Кандинский восхищался его творчеством и ставил Кубина в ряд с известными символистами, в частности, с Морисом Метерлинком. Кубин проявил себя как плодотворный художник, он издал несколько альбомов печатной графики, а также проиллюстрировал несколько десятков книг, среди которых произведения Ф.М. Достоевского, Н.В. Гоголя, Э. По, Гофмана, Жана Поля, Георга Тракля, Вольтера, Бальзака, Флобера, Г.Х. Андерсена и других. На русском языке книги, проиллюстрированные Кубиным, не издавались, за исключением его собственного романа «Другая сторона», впервые опубликованного на русском языке в 2000 году. Данная статья является первым шагом на пути изучения творчества художника и представляет биографический материал, собранный из различных немецко- и англоязычных источников. The article is about a biography of insufficiently explored in Russia Austrian artist, illustrator and writer Alfred Kubin. The artist was a member of art groups as the «New Munich Art Association» and the «Blue Rider». Wassily Kandinsky admired his work and put Kubin in line with the well-known Symbolists, especially with Maurice Maeterlinck. Kubin has a prolific artist, he has published several albums of prints and illustrated dozens of books, including works of Dostoevsky, Gogol, Poe, Hoffmann, Jean Paul, Georg Trakl, Voltaire, Balzac, Flaubert, Andersen and others. A books illustrated by Kubin is not published in Russia, except for his own novel «The Other Side», was first published in Russian in 2000. This article is the first step in the study of Alfred Kubin creativity. This is a biographical entry based on a variety of sources in German and English.

Was Kandinsky a Synaesthete? Examining His Writings and Other Evidence

2017 ◽  
Vol 30 (3-5) ◽  
pp. 447-460 ◽  
Author(s):  
Dyedra K. C. Just
Keyword(s):  
Diagnostic Criteria ◽  
Scientific Literature ◽  
Wassily Kandinsky

Wassily Kandinsky is widely regarded as one of the most prominent examples of a synaesthetic artist. However, in the scientific literature there is disagreement on the genuineness of his synaesthesia. This paper investigates whether Kandinsky had inborn synaesthesia, while acknowledging that there are also types of induced synaesthesia which he may have cultivated. As these two types of synaesthesia are seen to work additively in some synaesthetes and not to be mutually exclusive, this is not seen as an argument against the view that he was a true inborn synaesthete. Whether Kandinsky was a synaesthete is examined through a detailed study of his primary writings (e.g., On the Spiritual in Art, Point and Line to Plane, and Reminiscences), in light of the modern diagnostic criteria. The experiences described in those writings indicate that his synaesthetic perceptions were genuine and inborn and not just a theoretical endeavour. Given the genetic dimension of synaesthesia, this view is further supported by the fact that Kandinsky’s uncle Victor Kandinsky also described having synaesthetic experiences.

Expressionism

2018 ◽  
Author(s):  
Nell Andrew ◽  
Sharon Jordan ◽  
Lidia Głuchowska ◽  
Tanja Poppelreuter ◽  
Ryan Conrath
Keyword(s):  
Twentieth Century ◽  
Visual Arts ◽  
Physical Reality ◽  
Early Years ◽  
Van Gogh ◽  
Wassily Kandinsky ◽  
Vincent Van Gogh ◽  
Expressive Meaning ◽  
Edvard Munch

Expressionism was one of the foremost modernist movements to emerge in Europe in the early years of the twentieth-century. It had a profound effect on the visual arts, as well as on music, dance, drama, literature, poetry, and cinema. Rather than depict physical reality, Expressionism developed as a reaction against the prevailing interest in positivism, naturalism, and Impressionism, as artists who were heavily influenced by the work of Edvard Munch and Vincent Van Gogh sought to explore subjective content, finding the visual means to fully evoke or express an emotion, mood, or idea through their artwork. Expressionism’s theoretical underpinnings reside in Friedrich Nietzsche’s (1844-1900) philosophy and in Wilhelm Worringer’s (1881-1965) Abstraktion und Einfühlung (Abstraction and Empathy, 1908). In expressionist works, emotions and tensions were depicted with the help of symbolic color and lines in the belief that both carry their own innate expressive meaning and have psychological and spiritual effects—a strand of thinking pursued by Wassily Kandinsky (1866-1944) in his 1911 book Concerning the Spiritual in Art (Gordon, 1987).

Orientalism

2018 ◽  
Author(s):  
Katherine Higgins
Keyword(s):  
20Th Century ◽  
Western Europe ◽  
The West ◽  
Henri Matisse ◽  
Wassily Kandinsky ◽  
Eastern Culture ◽  
Western Art ◽  
Anthropological Study ◽  
Late Nineteenth ◽  
Definition Of

Orientalism is the sociological, historical, cultural, and anthropological study of the Orient, with "the Orient" constituting countries East of "the Occident" (Western Europe), and including lands spanning from Morocco to Japan. The term Orientalism, however, is primarily used to describe the incorporation of Eastern culture in Western art, literature, and design during the late nineteenth and early twentieth centuries. Artists whose work largely focused on Oriental subjects are often referred to as the Orientalists, and include Eugène Delacroix, Alphonse Etienne Dinet, Jean-Léon Gérôme, William Holman-Hunt, John Frederick Lewis, and the photographers Lehnert and Landrock. Traces of Oriental themes can also be found in the work of 20th-century artists including Henri Matisse, Pierre-Auguste Renoir, and Wassily Kandinsky. Orientalist artists predominantly depicted scenes of the Arabian Desert, portraits of natives with Oriental artefacts and clothing, the harem, odalisques, and Oriental architecture. Broadly speaking, the Orientalists represented the Orient as primitive yet opulent, and in stark contrast to the "rational" and enlightened West. Much of the scholarship around (and the very definition) of Orientalism in the 20th century is indebted to Said’s Orientalism (1977), which discusses why the West has preconceived notions of the Orient (and primarily the peoples of the Middle East).

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