scholarly journals Architecture and Art: La Ronchamp’s symbiosis as a ‘total work of art’

2015 ◽  
Author(s):  
Sarah Frances Dias ◽  
Maria João Durão
Keyword(s):  
Le Corbusier ◽  
Research Paper ◽  
Total Work ◽  
Work Of Art ◽  
Contemporary World ◽  
Sustainable Environment ◽  
The Arts ◽  
Definition Of ◽  
Architectural Characteristics ◽  
Artistic Values

Abstract: Le Corbusier developed his own unique poetics of architecture, perceived and understood as an art. In La Ronchamp, due to his complete creative freedom, he found a space to express his most poetic and artistic views. The research paper thus analysis the Chapel as a case study, in order to clarify Corbusier’s artistic and architectural vision, ideals and driving principles: drawing firstly from the architectural characteristics that define the space, secondly defining an integrated set of principles that conceptualize the architecture as an art, and lastly, an analysis of the particularities that compose the chapel as a ‘total work of art’, analyzing the union of the arts, both in concept, form and meaning, and in the overall context of Corbusier’s unqiue theory. Thus, the research paper aims to understand and uncover how the poetics and emotional condition lives through Ronchamp: the meaning it encases, the artistic values is sustains and the timeless ways it recreates. The overall study has both practical and theoretical applications and implications for architects and artists with an interest in the integration of art and architecture, as well as the conceptual connections between the arts; a vital issue in the contemporary world for the definition of a more meaningful and sustainable environment.  Keywords: Art, Architecture, Le Corbusier, Principles, Poetry, Emotion. DOI: http://dx.doi.org/10.4995/LC2015.2015.612

scholarly journals Abstraction and art

2003 ◽  
Vol 358 (1435) ◽  
pp. 1241-1249 ◽  
Author(s):  
Bernard Gortais
Keyword(s):  
Visual Arts ◽  
Science And Technology ◽  
Work Of Art ◽  
Digital Platforms ◽  
The Arts ◽  
Successful Work ◽  
The World ◽  
The Spectator ◽  
Definition Of ◽  
Generic Representation

In a given social context, artistic creation comprises a set of processes, which relate to the activity of the artist and the activity of the spectator. Through these processes we see and understand that the world is vaster than it is said to be. Artistic processes are mediated experiences that open up the world. A successful work of art expresses a reality beyond actual reality: it suggests an unknown world using the means and the signs of the known world. Artistic practices incorporate the means of creation developed by science and technology and change forms as they change. Artists and the public follow different processes of abstraction at different levels, in the definition of the means of creation, of representation and of perception of a work of art. This paper examines how the processes of abstraction are used within the framework of the visual arts and abstract painting, which appeared during a period of growing importance for the processes of abstraction in science and technology, at the beginning of the twentieth century. The development of digital platforms and new man–machine interfaces allow multimedia creations. This is performed under the constraint of phases of multidisciplinary conceptualization using generic representation languages, which tend to abolish traditional frontiers between the arts: visual arts, drama, dance and music.

scholarly journals Identity of the work of art

2010 ◽  
Vol 21 (2) ◽  
pp. 293-308
Author(s):  
Stefan Ristic
Keyword(s):  
Visual Arts ◽  
Physical Object ◽  
Ontological Status ◽  
Symbolic System ◽  
Work Of Art ◽  
Music And Literature ◽  
Works Of Art ◽  
The Arts ◽  
Art Forms ◽  
Definition Of

The paper intends to determine the identity of the work of art in visual arts, music and literature. The discussion is of ontological nature. Particular attention is given to the problem of imitation of works of art in different arts, making a distinction between two types of imitation: fakes and forgeries. The first type is found only within the arts where the work of art is a singular physical object, i.e. with the so called autographic arts, whereas the second type can also be found in other, allographic arts, although less commonly. The problem of the imitation of works of art is closely related with the issue concerning the possibility of reducing the work of art to a formal symbolic system which would serve as a definition of the work of art. The discussion shows that a consistent analysis of the ontological status of the work of art in different art forms provides results that may seem at the first glance unintuitive and surprising.

The total work of art and totalitarianism

Thesis Eleven ◽  
2019 ◽  
Vol 152 (1) ◽  
pp. 3-18
Author(s):  
Éric Michaud
Keyword(s):  
National Socialism ◽  
18Th Century ◽  
Third Reich ◽  
Total Work ◽  
Work Of Art ◽  
The Arts ◽  
The People ◽  
The Social ◽  
Democratic Revolution ◽  
The Third Reich

All the manifestos for a ‘total work of art’ after Wagner were political programmes: political, however, in a sense directly antithetical to the modern idea of the political. The goal of the total work of art was the formation of the people as a homogeneous political body, as the other of the social and political division, conflict and uncertainty inherent in the whole movement of democratic revolution since the 18th century. In each case the union or synthesis of the arts prefigures the reconciliation of the classes as the condition of the unity of the people. But who is this people that will realize itself in the total work? Is it the same people for the artists of the Bauhaus as it is for the leaders of the Third Reich? These are the questions I try to answer through an interrogation of the continuities and breaks in the re-workings of the Wagnerian concept of the Gesamtkunstwerk in the programmes of the Bauhaus and the policies of National Socialism.

scholarly journals The Agha residence at the archaeological palace of Taouiala in Algeria(its history and its artistic and architectural characteristics): مسكن الأغا بقصر تاويالة الأثري بالجزائر (تاريخه ومميزاته الفنية والمعمارية)

2019 ◽  
Vol 3 (12) ◽  
Author(s):  
Guebboub Lakhdar Salim, Dahmani Malika
Keyword(s):  
Tourist Destination ◽  
Archaeological Heritage ◽  
Social Fabric ◽  
Artistic Value ◽  
Materials Used ◽  
Human Image ◽  
Definition Of ◽  
Architectural Characteristics ◽  
Artistic Values ◽  
Local Materials

This study is part of the rehabilitation and enhancement of the Taouiala palace of the Laghouat in the Sahara desert of Algeria, addressing its various historical and artistic values. In this research, we focused on Abzar, the most important features of housing, particularly as regards the type of construction and local materials used in construction, trying to minimize even a small definition of the heritage, customs and social fabric of the region. On the other hand, this palace has not been spared a set of damage factors which have masked its true natural and human image, as well as biological and chemical in a direct and indirect way, leaving and saw its remarkable effects in the form of scattered ruins disappear and disappear. That is why we must propose a set of measures to preserve and preserve it, to remain a witness and an archaeological heritage throughout the history and past of a generation that has made its children an archaeological artistic value and a tourist destination that abounds with people and the country in general.

scholarly journals Influences of ancient Greek spirit on music romanticism as exemplifies in Richard Wagner's Gesamtkunstwerk

Muzikologija ◽  
2005 ◽  
pp. 257-267
Author(s):  
Anastasia Siopsi
Keyword(s):  
Ancient Greece ◽  
Point Of View ◽  
Total Work ◽  
Ancient Greek ◽  
Work Of Art ◽  
Greek Drama ◽  
The Arts ◽  
The Future

The romantics' ideal of the arts' collaboration (Mischgedichte) finds its most substantial equivalent in Richard Wagner's (1813-1883) "total work of art" (Gesamtkunstwerk). This theory for the restoration of the 'lost' unity of arts was elaborated in many theoretical essays of Wagner and 'applied' in his music dramas. Unity of arts, as well as unity of arts with nature existed according to Wagner in Ancient Greece while drama was the epitome of all expressive elements of nature. This "new art of the future", which Wagner envisaged, would restore the 'wholeness' of ancient Greek drama. It is the purpose, therefore, of this study to analyze mainly from an aesthetic point of view the influences of ancient Greek spirit on romantic thought, by focusing on Wagner's work.

scholarly journals Autour du pyjama de Le Corbusier Le vêtement comme modèle de pensée fondateur

2015 ◽  
Author(s):  
Clotilde Felix-Fromentin
Keyword(s):  
Le Corbusier ◽  
Point Of View ◽  
Prosthetic Design ◽  
Work Of Art ◽  
Palabras Clave ◽  
Definition Of

Résumé: Je m'intéresse, depuis le territoire du design, à l'intérêt que Le Corbusier porta pour le vêtement moderne, à partir d'une conférence de 1929 où la réforme du vêtement l'emporte à fonder son concept d' « équipement domestique » pour la « machine à habiter ». La richesse du modèle renvoie vers des écrits préalables, notamment sa théorie des "objets-membres artificiels" qui s'est trouvée soutenir une nouvelle définition « prothétique » du design, et par ailleurs des témoignages vécus plus intimes qui amènent un point de vue alternatif et dynamique sur la relation corporelle aux artefacts modernes. Au cœur des débats sur la place et le rôle de la machine industrielle, la position de Le Corbusier révèle sa complexité et sa singularité, qui s'éclaire grâce à des travaux et des concepts propres à l'époque, telle que la Rythmique et la phénoménologie du mouvement, les notions d'œuvre vivante, de sensation et de mesure. Cela emporte à esquisser une conception prothétique corbuséenne, paradoxale, offrant en retour d'enrichir la compréhension de cette idéologie encore très active, et aussi de contribuer à une théorie du vêtement en design, si frêle sur le sujet. Resumen: Me interesa, desde el territorio del diseño, el interés que Le Corbusier trajo a la prenda moderna, desde una conferencia de 1929 en que la reforma de la prenda le lleva a instaurar su concepto de "equipo del hogar" por la "máquina para vivir". La riqueza del modelo se refiere a los escritos anteriores, especialmente su teoría de la "extremidades objetos artificiales”, que se encontró sostener una nueva definición "prótesis" del diseño , y por otro lado, testimonios vividos más íntimos que conducen a un punto de vista alternativo y dinámico sobre relación cuerpo a los artefactos modernos. En el centro del debate sobre el lugar y el papel de la máquina industrial, la posición de Le Corbusier revela su complejidad y singularidad, que se ilumina gracias a las obras y los conceptos específicos de la época, tal como la Rítmica y la fenomenología de movimiento, las nociones de obras vivas, de sensación y de medida. Esto lleva a esbozar un diseño protésico corbuseano, paradójico, permitiendo a cambio enriquecer la comprensión de esta ideología que aun sigue muy activa, y también para contribuir a una teoría de la vestimenta en diseño, tan frágil sobre este tema. Abstract: I focus, from the territory of design, on the interest Le Corbusier brought to the modern garment, from a 1929 conference where the dressreform leads him to develop his concept of "équipement domestique" for the "machine à habiter". Richness of the model refers to prior writings, especially his theory of "objets-membres artificiels", which occured supporting a new "prosthetic" definition of design, and besides that, intimate testimonies that develop an alternative point of view, more dynamic, about body relationship to modern artefacts. At the heart of debates of the time about the place and role of industrial machinery, the position Le Corbusier holds reveals its complexity and uniqueness, which can be clarify through works and concepts specific of that time such as Eurythmics and the phenomenology of movement, notions of living work of art, sensation and measure. This encourages suggest a Corbusean, paradoxical, prosthetic design, allowing in return enrich the understanding of this ideology still very active, and also to contribute to a theory of dress in design, so slight on this subject.  Mots-clé: Le Corbusier, design, vêtement, prothétique, Rythmique. Palabras clave: Le Corbusier, diseño, prenda, prótesis, Rítmica. Keywords: Le Corbusier, design, clothing, prosthetic, Eurythmics. DOI: http://dx.doi.org/10.4995/LC2015.2015.845 

Need of Human Rights as a Better Way of Life

Think India ◽  
2019 ◽  
Vol 22 (3) ◽  
pp. 72-83
Author(s):  
Tushar Kadian
Keyword(s):  
Human Rights ◽  
Basic Needs ◽  
Research Paper ◽  
Human Being ◽  
Way Of Life ◽  
Labour Unions ◽  
The People ◽  
The Subject ◽  
Definition Of ◽  
Made In

Actually, basic needs postulates securing of the elementary conditions of existence to every human being. Despite of the practical and theoretical importance of the subject the greatest irony is non- availability of any universal preliminary definition of the concept of basic needs. Moreover, this becomes the reason for unpredictability of various political programmes aiming at providing basic needs to the people. The shift is necessary for development of this or any other conception. No labour reforms could be made in history till labours were treated as objects. Its only after they were started being treating as subjects, labour unions were allowed to represent themselves in strategy formulations that labour reforms could become a reality. The present research paper highlights the basic needs of Human Rights in life.

Book Review: The Total Work of Art

Thesis Eleven ◽  
2005 ◽  
Vol 83 (1) ◽  
pp. 104-121 ◽  
Author(s):  
David Roberts
Keyword(s):  
Total Work ◽  
Work Of Art
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