Art Of Relationships Research Articles

Classical Art: A Life History from Antiquity to the Present

Classical Art: A Life History from Antiquity to the Present

Reweaving the Urban Fabric of the Historic Riverfront Townscape of Masjid India, Kuala Lumpur

This study aims to examine the state of decline in the art of relationship between the urban river and all other elements in the historic townscape using principles of the Integrative Theory with the purpose to identify what binds townscape together and gives its sense of place and what causes the rupture. A qualitative-method case study was conducted in the Masjid India Riverfront District involving a visual survey, townscape appraisal, and content analysis on the morphology of the historic riverfront. The results show that the rupture between townscape and river as context is a product of poor walkability in a riverfront devoid of any setting for meaningful human activities, and the key to reweave the historic townscape is to rediscover what gives its meaning and sense of place.

Dance Marking Diplomacy: Rehearsing Intercultural Exchange

ABSTRACTDiplomacy is the art of relationships: the ability to work with individual to international-level concerns in a sensitive way. Like the diplomat, dance artists and educators know that success requires sensitivity to rapidly changing situational demands. A growing body of research suggests that the nonverbal art form of dance can be an effective medium for intercultural communication and exchange between people from different cultures. This article describes how choreographers and dancers from different cultures, educational backgrounds, and ethnic groups bridged the incommensurability of language to create a shared experience of cultural import during ArtsCross (2011–2014). As a microcosm of diplomacy in action, I suggest that the “dance marking” practices found in the rehearsal studio might provide some insight into more macrolevel “public diplomacy” efforts.

La recepción en el Arte luliano de los términos "ars": "scientia-philosophia-sapientia"

The term ars has different meanings in the context of Medieval University. The semantic extension of this term includes meanings as scientia, sapientia and philosophia. The aim of this article is to point out this plurality of senses, as well as to introduce the tradition of liberal and mechanical arts in the evolution of Llull’s thought. To develope these aims, I have taken texts used by medieval studium, for instance: Student’s Guides, Introductions to Philosophy and treaties about the Division of Sciences. The comparison of these texts and the Lullian definitions of arts reveals important similarities between them, and shows the dialogue between Lullian art and the large semantic field of the medieval term ars. These points suggest a new historiographical turn of researching the lullian art in relationship with the medieval tradition, which could involve different researching proposes devoting to liberal and mechanic arts, the division of sciences and the philosophical vocabulary of the arts in the Lullian work.

Public Landscape Regeneration Design Strategy in the Old City Reconstruction Based on the Restoration Ecology

There are two most important things in old town reconstruction: the functional reconstruction and landscape regeneration. Purpose is to restore its ability of sustainable development. In landscape architecture, planning industry refers to the land for a certain range of perceived visual things and events , as well as the art of relationship with the surrounding space organization. What is the public landscape, the author thinks that the public landscape is within the category of landscape, is open to the general public, is the landscape place for public use, enjoy and entertainment. Such as city square, commercial landscape, street landscape, residential landscape,, mountain landscape, waterfront landscape, etc.Old city reconstruction of four kinds of modes: completely torn down; keep the old city, nearby building auxiliary city; the continuation of historical context, the whole old as sweet; keep the old appearance, update of internal functions. Four patterns, the old as before and update the internal function of two models design provides a platform for regeneration. Environmental regulation is the foundation in the old city reconstruction, public landscape construction is the key, the public landscape regeneration can be designed on the basis of the original resources; using the landscape design methods to existing resources for rebuilding, expansion or repair, realize the value of reuse. The old town has a lot of historic culture, which is the soul of the city, in the process of public landscape regeneration design, place spirit of the city is also the key in the process of transformation. Both the pursuit of enjoyment on the vision and the pursuit of the heart of comfort, regenerative designs are effective methods.

Unexpected Parallels: Commonalities between Native American and Outsider Arts

Unexpected Parallels:Commonalities between Native American and Outsider Arts Dyani Reynolds-White Hawk (bio) "Otherances" tell more about the social and historical fantasies of the describers than about the people thus described. —Paul Arnett, "An Introduction to Other Rivers" The fields of outsider art and Native American art, when compared with each other, provide discerning critiques of the ways that mainstream art institutions and their constituents tend to treat groups that have not historically been equal participants in the makeup of Western art history.1 By mainstream institutions, I am referring largely to museums, galleries, and the academy that construct the prevailing value systems of the Western art world referenced as dominant in terms of power and prestige. My intent is to provide a broad analysis that complicates prevailing ideas about Native and outsider art in relationship to fine arts as a framework of reference. The comparative analysis of these polar fields will seek to identify repetitive behaviors of the mainstream art world in dealing with marginalized groups. Through the identification of similar patterns of treatment, we are able to reach an educated understanding of mainstream value systems applied to groups considered "other." [End Page 47] While my arguments may appear ambitious or overly generalized in terms of scope, I argue that a critical analysis of how Native and outsider arts are received has not to date been pursued in the literature.2 Thus my explorations of these intersections may serve to introduce this comparative platform for consideration by future scholars engaging in specific case study analyses. My aim is to introduce readers to the complexities of outsider and Native arts reception, and to likewise assist viewers and artists in being equipped to tackle difficult issues such as race and bias while negotiating relationships between the peripheral and center in various arts worlds. As an artist and as a Native American trained in the higher education system, I am inescapably engaged in the challenging relationship between the fine art world and the Native American art world. In this essay, I am seeking to extract core issues and find evidence of some of the larger challenges that are presented in this relationship of Native Americans and the academy. The African American theologian Cornel West has stated, "I'm as much concerned with how we understand modernity and the dominant culture as with the African-American experience."3 This statement parallels the motivations of this investigation, that through an understanding of the values of the mainstream art world, a greater understanding of self and community in relation to this entity can occur. Establishing Foundational Characteristics and Differences of Native American and Outsider Arts The world of outsider arts, also referred to as self-taught, folk, or vernacular arts, is defined by the characteristics of its makers. It is not restricted to a particular geographic location, race, or national heritage. The artist's primary attribute is defined as a lack of formal training or credentials. Along with this lack of formal training, there is a perceived lack of influence by the field of art history and mainstream communities. Outsider arts are therefore perceived as pure, unadulterated, individualistic forms of innate expression, often falling into various classifications such as rural, poor, less educated, mentally ill or unstable, prisoners, homeless, or any variety of other combinations that socially set them apart from the median. Their otherness is "based more on sociological and psychological factors that are held together principally by commonly made claims by Outsider Art's apologists. . . . This difference is not merely marked by exclusion from the mainstream of the professional (western) art world, but also by exclusion from, or marginalization in relation to, the very culture that supports the market for mainstream art."4 Thus, by the nature of its qualifications, outsider art [End Page 48] can be practiced by anyone fitting the outsider criteria of any race, in any country. Although outsider art is not ethnically based, because of its focus on the biography of its makers, the field has been linked to the category of identity art. Native American art, like that of any other culturally specific group, is similarly defined by the characteristics of the artist. Identity lies at the...

Social work the ‘art of relationship’: parents' perspectives on an intensive family support project

ABSTRACTFrom the findings of a study examining the perspective of parents using Intensive Family Support Service based in northern England, this paper examines the constituent elements required for effective relationship‐based practice. Although the study is based in a single site in England, the findings are more broadly relevant, given both national and international interests in relationship‐based practice in child protection. The participants in this study – parents whose children had been assessed as being ‘at the edge of care’– were asked to comment on the intervention they had received. Analysis of parents' interviews suggests that the service user–worker relationship was critical to their positive experience of the service. The paper provides an analysis of parents' descriptions of ‘positive relationships’ and identifies the key themes. It then considers these findings in the context of contemporary children and families' social work practice. Engaging with current debates, the paper makes reference to the impact of modernization, which has served to erode effective face‐to‐face work with families, given excessive ‘backroom’ demands of administration and audit. Discussion engages with an emerging emphasis on effective relationship‐based practice following reports from Munro and the Social Work Reform Board. In this context, the paper concludes that the views of these families whose children are on the ‘edge of care’ offers insights into the skills required for relationship‐based practice.

From Video Replay to the Relational Circuit to Threeing

This article traces the invention of the relational circuit, which makes possible an art of relationships called Threeing. This process of invention grew out of extensive video replay. Contrapposto made it possible to depict motion in stone. The relational circuit likewise makes possible a formal art of relationships for three people. This art form can be viewed in the light of relational aesthetics, a theory that judges artwork based on how it prompts inter-human activity and engagement with the world.

Art and World View: Escaping the Formalist Labyrinth

AbstractThis paper attempts to identify the theoretical and practical issues for developing the secondary art curriculum for dealing with the meaning of works of art in relationship to the demands of teaching attainment target 2 of the English National Curriculum for ait and the new GCSE syllabuses to be introduced in September, 1996.The first section deals with the theoretical issues related to art, meaning and life. Formalism is considered inadequate for understanding and responding to works of art and is rejected in favour of an approach that gives greater priority to the multidimensional and relational features that give works of art meaning. This places art back again as an irreducible feature of wider cultural processes. In advocating this approach I will criticise collectivist and historicist explanations that are ultimately rooted in Hegel's idea of the ‘spirit of the age’. The more dynamic understanding of culture as a product of an elaborate ‘conversation’ that is open but constrained, based on the available symbolic codes of a given form of life, will be preferred as an explanation for art and cultural change.The second section models some classroom strategies that can be used to teach art on the basis of considerations related to meaning that emerge from the previous theoretical discussion. Searle's [19831 distinction in the ‘direction of fit’ of perception between ‘mind‐to‐world’ and ‘world‐to‐mind’ is used to establish a methodological principle for understanding and dealing with meaning in works of art. The former starts with the pupils' existing schemata and deals in ambiguities and conjectured interpretation. The latter gives priority to the art object in context, and attempts to develop in pupils an empathy for and understanding of the multi‐dimensional factors that influence the making of art.The paper argues for the need for both approaches to be used in a complementary way so that a knowledge‐seeking rather than a self‐seeking attitude to the meaning of works of art is nurtured in pupils.

Robert Morris : des pièces minimales aux Feutres

Robert Morris : from the Minimal works to the Felts. Robert Morris’s very diversified activity possesses a unity if one considers it from the point of view of its relationship to the human body. From this point of view, the minimalist works from 1964 to 1967 appear particularly expressive of Morris’s theories of the perception of space and the situation of the work of art in relationship with the beholder. Their implicit system is paradoxical : on one hand, an “anthropomorphism” linked to the human proportions, on the other hand, a geometric formalism which tends to dematerialize sculpture. In 1967, the felt-sculptures suggest a new form of analogy with the human body ; they also clearly question the relationship of art with the norms of industrial production.

Women, Art, and Culture in the New Grenada

Can straw, fiber, and wood, the basic raw materials of Caribbean arts and crafts, be reshaped to reflect the consciousness that distinguishes 110,000 from most other Caribbean peoples? During my visit to Grenada in July 1983, the answer to this question became apparent as I began to view and understand the role of art in relationship to history and the more recent social changes that have taken place in Grenada since their March 13, 1979, revolution. Yvonne Palmer, the director of Grencraft and the Grenadian National Handicrafts Institute (GNHI), and Jacob Ross, a director of cultural programs within the Ministry of Culture, were my two principal informants. During our long discussions I realized how the arts became an effective arm of the people's revolutionary struggle, inspiring form and content for the media of straw, fiber, and wood, as well as dance, poetry, and music. The art media now reflect the developing consciousness and pride of the people or worker-artists in their future. I also visited, interviewed, sketched, and photographed the teachers and students of GNHI and people of St. George's (the capital) and Gouyave, Sauteurs, and Grenville, who shared with me some of the daily aspects of their lives as well as future aspirations. As exemplified by Jacob Ross's statement that We are in the process of rewriting our history. It wasn't Columbus who discovered Grenada in 1498, but the Carib Indians who found Columbus standing on their shores, the new Grenadians are seeking to redefine themselves as a people and a nation free from their past colonial domination and the corrupt Eric Gairy dictatorship that followed.

Henry James and Virginia Woolf: The Art of Relationships

Objections to the work of Henry James and Virginia Woolf often center about the limited range of their art: typical judgments being E. M. Forster's in Aspects of the Novel, where it is said that of human life has to disappear before [James] can do us a and Walter Allen's in The English Novel, where Woolf is seen a novelist of very narrow limits . . . . [Her characters] tend to think and feel alike, to be the aesthetes of one set of sensations. It is thought that the characters of both novelists do not experience the range of life as it is really lived; moreover, they seem to inhabit worlds in which questions of social strife, of evil and suffering, of religious doubts, of something so necessary to life as work, are ignored. It is felt generally, even by admirers, that in the novels of James and Woolf the aesthetic sensibility has so constricted life as to distort or pervert it, taking into account little of the richness and the vulgarity of ordinary life. It is not my suggestion that James and Woolf are similar in many important respects; surprisingly enough, they seem quite clearly unrelated in matters of form, since James prepares forms quite as rigorous, though not as visible, as the plots of the traditional novel, and Woolf seeks to discover along wtih her characters design in the free flux of life; thematically, James is obsessed with the moral education of pastoral creatures-princesses or Adamic vovagers from America while Woolf is concerned with the necessary though doomed attempt to forge out of daily lif a meaning that will transcend it. They are kin, however, in their creation of subjective worlds that seek to define themselves in relationship to the larger, real world, the process often bringing with it annihilation, as in Tho Voyage Out and The Wings of the Dove. They are kin, most clearly, in their use of minute psychological observations, Woolf casting about much more freely than James; and in their deliberate, unhurried, at times relentless faithfulness to these observations. What is most interesting about their art, however, is that it seems dehumanized to the ordinary reader. One cannot abstract from their words characters who are able to survive in an alien environment, as it would seem one might with other novelists-Dickens, Austen, Twain, Joyce. This apparent weakness, however, may be seen as a necessary qualification of their art.