2022-11-10T15:18:36Z eprint https://repository.www.guaguababy.com/images/sitelogo.png https://repository.www.guaguababy.com/ 2022 - 05 - 11 - t15:28:06z 2022-05-11T15:28:29Z https://repository.www.guaguababy.com/id/eprint/1983 This item is in the repository with the URL: https://repository.www.guaguababy.com/id/eprint/1983 2022 - 05 - 11 - t15:28:06z

讲故事是一个生活事件,个人take on specific roles and cocreate an artwork in the form of a story-told. As a Heideggerian Artwork this discloses the Being of beings, specifically through a mode of engaging with beings which lets them be independent from the role of resource within a technological culture, in which all beings can become resources. This technological mode of engagement Heidegger calls enframing, and contrasts it with 'coming home' to 'the Holy', here called 'enchantment'. Enchantment is a more fundamental mode of engaging than enframing based in wonder, an openness which allows the enchanted individual to feel at home within the network of beings, rather than separate and above them. This process occurs in Storytelling through entering into an enclave of meaning within our own world but separated from the daily activities which require the ability to enframe. The story-told is embodied in the physicality of those present. By taking on the role of the storyteller, the teller directs the listener in adopting the appropriate attitude for becoming enchanted. The storyteller/artist has a special role to play. Whilst Art is rooted in human nature, it is not often practiced as a primary mode of Being within a culture where enframing is the norm, and the ability to step beyond enframing and into the Holy is necessary to be able to lead others in this process. Learning to do this in an enframed world is difficult, so Storytellers in these cultures tend to be those that lean towards it already, and have a resistance to enframing. It is not the narrative but the activity of the teller which directs the listener into an enchanted state, and therefore examining Storytelling as Art illuminates the power of Art-as-verb to reenchant the world.

Hayley Addis 2019-11-28T12:53:53Z 2020-11-27T02:02:07Z https://repository.www.guaguababy.com/id/eprint/1128 This item is in the repository with the URL: https://repository.www.guaguababy.com/id/eprint/1128 2019-11-28T12:53:53Z

The paper champions an articulacy in drawing – visualcy – as central to a visual arts pedagogy, arguing that the one domain of human inquiry which distinguishes the visual arts from other disciplines is surely that surrounding the faculty of vision. The ascendency within the artworld of a relational aesthetics often devoid of perceptual insights is traced through a brief history of the relationships between visual artforms and their sociopolitical contexts, culminating with the shift of emphasis away from the perceptually intriguing and towards the contemporary imperatives of a professional practice defined in terms of the neo-liberal values permeating the UK Higher Education sector since 2010. The text rehabilitates the Formalist notion of enstrangement as a means of revitalizing the primacy of perceptual inquiry over ‘looking through language’, and is illustrated with drawings by the author.

Howard Riley 2019-11-27T14:47:33Z 2020-01-17T10:20:50Z https://repository.www.guaguababy.com/id/eprint/548 This item is in the repository with the URL: https://repository.www.guaguababy.com/id/eprint/548 2019-11-27T14:47:33Z

一个木制雕像穿着小衣服马de from a Wari style tie-dyed textile joined the collections of the City of Liverpool Public Museum (now National Museums Liverpool) in 1951 along with other items distributed by the trustees of the Wellcome Historical Medical Museum. This article discusses Wari style tie-dyed tunics as part of an ensemble of garments. It explores the character of the Wari period textile (c. AD 600-1000) used for dressing the statuette, its similarity to textiles in the Fowler Museum at the University of California, Los Angeles and the Museo Nacional de Arqueología, Antropología e Historia del Perú, as well as the chronological mismatch between the style of the textile and that of the wooden figurine. Unless the statuette was made to order in recent times to be dressed in an ancient textile, it is perhaps Late Horizon (c. 1430 - 1532) in date. Sir Henry Wellcome acquired the statuette before his death in 1936, at a time when there was an emergent market in unprovenanced pre-Hispanic antiquities. The statuette is a composite figurine clad in bespoke garments made from an older textile. Its appearance bears witness to collecting practices which included modifying ancient artefacts to appeal to modern collectors and it destabilises simple understandings of what the dressed aspect of the statuette can convey to a museum visitor.

Penelope Dransart 2019-11-27T14:22:04Z 2020-01-16T16:40:16Z https://repository.www.guaguababy.com/id/eprint/629 This item is in the repository with the URL: https://repository.www.guaguababy.com/id/eprint/629 2019-11-27T14:22:04Z

With an emphasis on the concept of hue, this article examines colour qualities in ethnographic textiles from Isluga, in northern Chile, according to ideas concerning synaesthesia and chromaticism. It explores correspondences between light, colours, sound and taste against a historical trajectory in which industrially manufactured yarns bought in the marketplace replaced the dyeing of threads at the homestead. Attention is drawn to notions of saturation and how weavers exploit contrasts of hue, using extensive amounts of naturally coloured camelid fleece and narrow stripes of dyed colours. During much of the twentieth century, Isluga weavers restricted their use of intense colours compared to those used by weavers in other parts of the Andes. This article addresses anthropological theories of colour in the light of weavers’ metaphysical appreciation of the concept of colour saturation as their willingness to incorporate more extensive amounts of bright colours changed. It is based on the author’s fieldwork in Isluga conducted since the mid-1980s.

Penelope Dransart 2019-09-05T13:09:34Z 2019-09-05T13:09:34Z https://repository.www.guaguababy.com/id/eprint/1046 This item is in the repository with the URL: https://repository.www.guaguababy.com/id/eprint/1046 2019-09-05T13:09:34Z Sulaiman Kadikon 2019-07-05T11:53:43Z 2020-01-22T14:29:46Z https://repository.www.guaguababy.com/id/eprint/1013 This item is in the repository with the URL: https://repository.www.guaguababy.com/id/eprint/1013 2019-07-05T11:53:43Z

本文是一个presentatio的扩展版本n which addressed the question posed under Strand'A' of Paradox: The Fine Art European Forum held at the Conway Hall, London, September 2017: Does the PhD research model of contributing new knowledge fit art, where there are no definitive answers and the main strength of the research is its ability to question?, answering in the positive by distinguishing between propositional knowledge, non-propositional knowledge, and understanding. It acknowledges the range of work already published on this question, and distils an aesthetic cognitivist position from which the visual arts are construed as powerful means of deepening our understanding, a source of non propositional knowledge on a par with, although qualitatively different from, the way that the sciences are construed as the means to propositional knowledge. The terms perceptual intrigue and conceptual intrigue are introduced as values implicit in aesthetic cognitivism. The paper is intended to support and inform research supervisors charged with advocating, research proposals through practices in the visual arts, and those responsible for assessing such proposals, in the context of university cross-disciplinary research degrees committees. Mae'r papur hwn yn fersiwn estynedig o gyflwyniad a aeth i'r afael 6 chwestiwn a ofynnwyd o dan Linyn 'A' o Fforwm Ewropeaidd Celfyddyd Gain, Paradox, a gynhaliwyd yn Neuadd Conway, Llundain, Medi 2077: Ayw model ymchwil PhD o gyfrannu gwybodaeth newydd yn gweddu i gelfyddyd, pan nad oes unrhyw atebion pendant a phrif gryfder yr ymchwil yw ei allu i gwestiynu ?, gan ateb yn gadarnhaol trwy wahaniaethu rhwng gwybodaeth osodiadaol a gwybodaeth anosodiadol, a dealltwriaeth.Mae'n cydnabod yr amrywiaeth o waith a gyhoeddwyd eisoes ar y pwnc hwn, ac yn egluro safbwynt gwybyddol esthetig, lie ystyrir y celfyddydau gweledol yn ddul/iau pwerus o ddyfnhau ein dealltwriaeth, sef ffynhonnell o wybodaeth anosodiadol i'w chymharu, er eu bod yn hanfodol wahanol, a'r modd yr ystyrir y gwyddorau yn fodd o sicrhau gwybodaeth osodiadol. Nod y papur yw cefnogi goruchwylwyr ymchwil ac erai/1 sydd wedi cael y cyfrifoldeb o wneud cynigion ymchwil trwy ymarferion yn y celfyddydau gweledol yng nghyd-destun pwyllgorau graddau ymchwil trawsddisgyblaethol prifysgolion

Howard Riley 100203 2014-09-22T11:04:12Z 2016-02-18T12:00:47Z https://repository.www.guaguababy.com/id/eprint/337 This item is in the repository with the URL: https://repository.www.guaguababy.com/id/eprint/337 2014-09-22T11:04:12Z

Much of Western Philosophy has overlooked the central importance which human beings attribute to the Aesthetic experiences. The phenomena of laughter and comedy have largely been passed over as “too subjective” or highly emotive and therefore resistant to philosophical analysis, because they do not easily lend themselves to the imposition of Absolutist or strongly theory-driven perspectives. The existence of the phenomena of laughter and comedy are highly valued because they are viewed as strongly communal activities and expressions. These actually facilitate our experiences as inherently social beings, and our philosophical understanding of ourselves as beings, who experience passions and life itself amidst a world of fluctuating meanings and human drives. I will illustrate how the study of “Aesthetics” developed from Ancient Greek conceptions, through the post-Kantian and post-Romantic periods, which opened-up a pathway to the explicit consideration of the phenomena of laughter and comedy, with particular reference to the Apollonian/Dionysian conceptual schemata referred to in Nietzsche’s early works. I will demonstrate how our understandings and experiences of the phenomena facilitate the meaningful nature of our relationships with human beings and the natural world as a whole, due to their ability to facilitate states of communal existence and to convey both linguistic and non-linguistic understandings of the meaning and value of life. Comedy and laughter also allow us to communicate integral human experiences which are highly resistant to purely linguistic expression and analysis. I will also highlight the value of laughter as a Dionysian, communal phenomena and expression, which possesses many Apollonian qualities because its drive can be channeled (via the medium of comedy), into the expression of deeply philosophical and social issues, such as our moral beliefs, the nature of meaning itself and the nature of the interrelations between individuals and also of those between persons and their society.

Reuben. Hind