The exhibition at Gallery Sumukha in Bangalore features paintings, sculptures, and installations by artist Dimple B Shah that represent alchemical substances and processes. Shah's large canvases depict classical alchemical metals in a way that connects them to human qualities and dispositions. Her works use precise realism combined with surreal atmospheres to blend intuitions of reality with the subconscious. An installation piece features a shower cubicle with walls studded with glass bottles containing human samples, representing the possibility of cleansing the body, soul and spirit. Shah's artworks parallel the complex processes of alchemy aimed at understanding reality and the inner self through purification and transformation.
The artist was born with a congenital heart condition and was not expected to survive. Through misdiagnoses and an open-heart surgery, she defied expectations and sees her survival as medically unexplainable. Her heart condition serves as a metaphor for personal hardships she has endured. Her artwork explores emotions, observations, and reflections on the world through various mediums like painting, sculpture, photography, and installation. She creates her pieces to express gratitude for the love and support of family and friends.
The document discusses different forms of art including paintings, sculpture, architecture, music, and their importance. It provides perspectives from various artists on topics like the power and purpose of art, how it elevates the human mind and cultivates sensitivity, and how art gives peace and vitality to the human soul. Examples of iconic artworks and artists are also mentioned.
The Power of Art discusses how art can impact people in various ways. It explores how different works of art from different time periods and cultures reflect the ideals and beliefs of those societies. It also examines how art has the power to renew our sense of seeing, change perspectives, touch emotions, awaken senses, and transform experiences. Artists also use art for self-expression and healing from personal experiences. Definitions of art and beauty have evolved over the centuries.
Circle as a Humor to the Miracles of Human Life and NatureVincentKwunLeungLee
A research paper on the painting creations of Hon Chi Fun, which was written during Prof. Eva Man Kit-wah's guidance in "Artistic Creativity and Aesthetic Awareness" course
(* Declaration of interests: I have no experience of interacting with Miss. Choi Yan-chi, who is Mr. Hon Chi-fun's wife. During my Year 1 studies at HKBU Academy of Visual Arts, I was assigned to attend Mr. John Li Tung-keung's Drawing course. Thus, Miss. Choi Yan-chi wasn't my art teacher at all. She does not know who I am. I remained a neutral mind while analyzing Mr. Hon Chi-fun's painting styles in this piece of research assignment.)
This document provides information about two exhibitions at the MAD Museum of Art & Design in Singapore from June 6 to August 31, 2016. The first exhibition, "Imaginary Landscapes: Paintings by Lee Jae Sam", features the works of Korean artist Lee Jae Sam and his meditative landscape paintings created using charcoal. The second exhibition, "Interactions: Paintings by Lakshmi Mohanbabu", presents the works of Singaporean artist Lakshmi Mohanbabu exploring themes of duality, balance and cultural interactions through colorful mandala-inspired abstract paintings. The document also includes statements from the artists about their works and process as well as background information on the exhibitions and artists.
This document discusses contemporary Chinese art and the social transformations occurring in China. It begins by looking at artists such as Zhang Dali who documented the demolition of old neighborhoods in Beijing. It then discusses how millions of rural migrants moved to Chinese cities, changing the urban landscape. Various artists such as Liu Bolin, Chen Qiulin, and Yang Yongliang have responded to these changes through their artworks. The document examines themes of utopia, dystopia, and how artists explore the tensions between tradition and modernity in today's China.
The Beauty of Soul, Beauty of Form: Naturally-glazed Ceramics and HaikuMakoto Hatori
The Log Book, Issue 22. 2005, pp.3-7, The International Publication for Woodfirers and those interested in Woodfired Ceramics - P.O.Box 612, Scariff, Co.Clare, Republic of Ireland
The document discusses different forms of art including paintings, sculpture, architecture, music, and their importance. It provides perspectives from various artists on topics like the power and purpose of art, how it elevates the human mind and cultivates sensitivity, and how art gives peace and vitality to the human soul. Examples of iconic artworks and artists are also mentioned.
The artist was born with a congenital heart condition and was not expected to survive. Through misdiagnoses and an open-heart surgery, she defied expectations and sees her survival as medically unexplainable. Her heart condition serves as a metaphor for personal hardships she has endured. Her artwork explores emotions, observations, and reflections on the world through various mediums like painting, sculpture, photography, and installation. She creates her pieces to express gratitude for the love and support of family and friends.
The document discusses different forms of art including paintings, sculpture, architecture, music, and their importance. It provides perspectives from various artists on topics like the power and purpose of art, how it elevates the human mind and cultivates sensitivity, and how art gives peace and vitality to the human soul. Examples of iconic artworks and artists are also mentioned.
The Power of Art discusses how art can impact people in various ways. It explores how different works of art from different time periods and cultures reflect the ideals and beliefs of those societies. It also examines how art has the power to renew our sense of seeing, change perspectives, touch emotions, awaken senses, and transform experiences. Artists also use art for self-expression and healing from personal experiences. Definitions of art and beauty have evolved over the centuries.
Circle as a Humor to the Miracles of Human Life and NatureVincentKwunLeungLee
A research paper on the painting creations of Hon Chi Fun, which was written during Prof. Eva Man Kit-wah's guidance in "Artistic Creativity and Aesthetic Awareness" course
(* Declaration of interests: I have no experience of interacting with Miss. Choi Yan-chi, who is Mr. Hon Chi-fun's wife. During my Year 1 studies at HKBU Academy of Visual Arts, I was assigned to attend Mr. John Li Tung-keung's Drawing course. Thus, Miss. Choi Yan-chi wasn't my art teacher at all. She does not know who I am. I remained a neutral mind while analyzing Mr. Hon Chi-fun's painting styles in this piece of research assignment.)
This document provides information about two exhibitions at the MAD Museum of Art & Design in Singapore from June 6 to August 31, 2016. The first exhibition, "Imaginary Landscapes: Paintings by Lee Jae Sam", features the works of Korean artist Lee Jae Sam and his meditative landscape paintings created using charcoal. The second exhibition, "Interactions: Paintings by Lakshmi Mohanbabu", presents the works of Singaporean artist Lakshmi Mohanbabu exploring themes of duality, balance and cultural interactions through colorful mandala-inspired abstract paintings. The document also includes statements from the artists about their works and process as well as background information on the exhibitions and artists.
This document discusses contemporary Chinese art and the social transformations occurring in China. It begins by looking at artists such as Zhang Dali who documented the demolition of old neighborhoods in Beijing. It then discusses how millions of rural migrants moved to Chinese cities, changing the urban landscape. Various artists such as Liu Bolin, Chen Qiulin, and Yang Yongliang have responded to these changes through their artworks. The document examines themes of utopia, dystopia, and how artists explore the tensions between tradition and modernity in today's China.
The Beauty of Soul, Beauty of Form: Naturally-glazed Ceramics and HaikuMakoto Hatori
The Log Book, Issue 22. 2005, pp.3-7, The International Publication for Woodfirers and those interested in Woodfired Ceramics - P.O.Box 612, Scariff, Co.Clare, Republic of Ireland
The document discusses different forms of art including paintings, sculpture, architecture, music, and their importance. It provides perspectives from various artists on topics like the power and purpose of art, how it elevates the human mind and cultivates sensitivity, and how art gives peace and vitality to the human soul. Examples of iconic artworks and artists are also mentioned.
The document discusses different forms of art including paintings, sculpture, architecture, music, and their importance. It provides perspectives from various artists on topics like the power and purpose of art, how it elevates the human mind and cultivates sensitivity, and how art gives peace and vitality to the human soul. Examples of iconic artworks and artists are also mentioned.
The document discusses different forms of art including paintings, sculpture, architecture, music, and their importance. It provides perspectives from various artists on topics like the power and purpose of art, how it elevates the human mind and cultivates sensitivity, and how art gives peace and vitality to the human soul. Examples of iconic artworks and artists are also mentioned.
Art Divers, Musique,Peinture, Sculpture, Et Architechtureadam eva
The document discusses different forms of art including paintings, sculpture, architecture, music, and their importance. It provides perspectives from various artists on topics like the power and purpose of art, how it elevates the human mind and cultivates sensitivity, and how art gives peace and vitality to the human soul. Examples of iconic artworks and artists are also mentioned.
The document discusses different forms of art including paintings, sculpture, architecture, music, and their importance. It provides perspectives from various artists on topics like the power and purpose of art, how it elevates the human mind and cultivates sensitivity, and how art gives peace and vitality to the human soul. Examples of iconic artworks and artists are also mentioned.
The document discusses different forms of art including paintings, sculpture, architecture, music, and their importance. It provides perspectives from various artists on topics like the power and purpose of art, how it elevates the human mind and cultivates sensitivity, and how art gives peace and vitality to the human soul. Examples of iconic artworks and artists are also mentioned.
1. The document discusses different forms of art including paintings, sculpture, architecture, and music.
2. It provides examples of famous artists and their works for each art form, such as Michelangelo's sculptures David and Moses.
3. The document also explores philosophical views on what defines art and its purpose, with quotes from figures like Tolstoy on how art can transmit feelings from the artist to the audience.
Ngoc Nguyen visited the Metropolitan Museum of Art in New York City with their grandparents. The museum has one of the finest Asian art collections which has deepened Nguyen's understanding of art. The museum itself is an impressive architectural structure housing works that transport visitors back in time. Nguyen was particularly struck by the Hall of the Buddha and its seated Bodhisattva statue, feeling a sense of peace and guidance. Overall, the visit provided valuable cultural and educational experiences that enhanced Nguyen's appreciation for art and history.
The Etihad Modern Art Gallery in Abu Dhabi encourages the creation of art with local references and showcases work from established and upcoming Emirati and international artists. As a dynamic multi-functional art space, it has contributed positively to society and the cultural movement by attracting activists and developing emerging talents. The gallery's ambition is to continuously revive the emerging art scene in Abu Dhabi through open dialogue and new concepts while promoting the vision of its founder.
The document discusses different forms of art including paintings, sculpture, architecture, music, and their importance. It provides perspectives from various artists on topics like the power and purpose of art, how it elevates the human mind and cultivates sensitivity, and how art gives peace and vitality to the human soul. Examples of iconic artworks and artists are also mentioned.
The document contrasts Chinese and European art styles through examples. In China, a painter disappeared into his own cave painting. Europeans feared depicting eyes realistically in case the subject came to life. A blacksmith used his painting skills to impress a painter's daughter. Chinese art requires viewers to actively participate mentally, while European art aims for perfect realism. The concept of landscape in Chinese art represents the Daoist view of yin and yang energies interacting in nature and in the void between them.
The Gahoe Museum in Seoul houses one of the most comprehensive collections of Korean shaman art in the world. The collection, assembled by founder Yeolsu Yoon, includes shaman paintings, folk art, amulets, books, and relics that provide insight into indigenous Korean culture and spirituality. Shaman paintings often depict deities and spirits that play important roles in shaman rituals and folk beliefs. Yoon's article explores some of the most significant deities represented in the collection, such as the Five Direction Guardians, Seven Star Spirit, Mountain God, Buddha Trinity, military generals, and disease-related spirits. The museum strives to preserve these works of art and educate the public on Korean folk traditions
The document discusses the differences between Chinese and European landscape art. In Chinese art, landscapes are meant to represent the artist's inner spiritual and conceptual thoughts rather than reproducing an actual view. The landscape allows viewers to enter it from any point and travel through it at their own pace using their imagination. In contrast, European art aims to allow viewers to see exactly the view as the artist saw it from a single perspective. Two stories are provided that illustrate these differing artistic goals between representing inner essence versus realistic illusion.
The document summarizes the key differences between Western and Chinese landscape painting traditions. In the West, the aim is realistic illusion and accuracy, showing a specific view from one angle. In China, landscapes are conceptual spaces that do not depict a single view, allowing the viewer to enter from any point and travel through mentally. The Chinese landscape incorporates Daoist concepts of yin, yang, and the void between as a space for meditation. It requires active participation from the viewer to enter the artist's mind rather than just borrowing their eyes.
The document provides an overview of two parts about art and landscape. The first part discusses Chinese paintings from the Tang Dynasty and stories about famous painters like Wu Daozi. It also mentions Chinese shan shui philosophy of representing nature. The second part discusses the concept of outsider art or art brut, giving the example of Nek Chand who created the unique Rock Garden in Chandigarh using discarded materials without formal training.
Chinese art focuses on the spiritual and inner meaning rather than reproducing realistic landscapes. It allows viewers to use their imagination to travel within the painting. In contrast, European art aims to accurately depict nature and let the viewer see exactly what the artist intended. The chapter illustrates this difference through two stories - one involving a Chinese painter who could transport the emperor into a mountainscape painting, and another about a European artist who painted a fly so realistic that the viewer tried to swat it.
Final Art Project: Mythology in Art by Lauren Priebepriebe2
This document provides information on five artworks from the Prado Museum in Madrid, Spain that depict mythology. It includes details on the medium, dimensions, and key elements of each piece: Venus (sculpture), The Three Graces (painting), The Contest of Diana's Nymphs (ceramic), Crossing the River Styx (painting), and Sarcophagus with the Story of Achilles and Polyxena (sculpture). The author selected these pieces because they represent different stories and figures from mythology through various artistic mediums.
The three unities refer to Aristotelian rules for drama that prescribe: 1) the unity of action, where a play should have one main plot with few subplots; 2) the unity of place, where a play should take place in a single location without changing places on stage; and 3) the unity of time, where the events of a play should occur within 24 hours. Aristotle noted that these unities were generally followed in Greek plays since Aeschylus, except for a few cases, though he did not prescribe them as absolute rules. The unity of place was also assumed to keep the chorus, present throughout the performance, from needing excuses to move between locations. Examples given are Sophocles' Oed
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive function. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms.
Psychoanalysis
The relational focus was there from the beginning.
In between Biology and Psychology: genetic vulnerabilities in interaction with the primary caregivers.
How do somatic sensations develop into human feelings?
How do emotions develop into feelings?
How develop somatic sensations into intentional behavior with a symbolic meaning?
How do biological factors, genetic vulnerabilities and environmental factors interact with each other?
This document is a student paper submitted to Bhavnagar University discussing Dhvani theory and Alamkara in Sanskrit poetics. It provides an introduction to Dhvani theory as proposed by Anandavardhana, discussing concepts like Prakrata Dhwani, vaikrta Dhwani, and how Dhvani theory elevates discussion on the essence of poetry. It also discusses the different meanings of Dhvani and the two main divisions of Dhvani theory. Finally, it defines and discusses concepts of Alamkara, including different types like Varnalankar and Shabdanulankar.
The document discusses different forms of art including paintings, sculpture, architecture, music, and their importance. It provides perspectives from various artists on topics like the power and purpose of art, how it elevates the human mind and cultivates sensitivity, and how art gives peace and vitality to the human soul. Examples of iconic artworks and artists are also mentioned.
The document discusses different forms of art including paintings, sculpture, architecture, music, and their importance. It provides perspectives from various artists on topics like the power and purpose of art, how it elevates the human mind and cultivates sensitivity, and how art gives peace and vitality to the human soul. Examples of iconic artworks and artists are also mentioned.
Art Divers, Musique,Peinture, Sculpture, Et Architechtureadam eva
The document discusses different forms of art including paintings, sculpture, architecture, music, and their importance. It provides perspectives from various artists on topics like the power and purpose of art, how it elevates the human mind and cultivates sensitivity, and how art gives peace and vitality to the human soul. Examples of iconic artworks and artists are also mentioned.
The document discusses different forms of art including paintings, sculpture, architecture, music, and their importance. It provides perspectives from various artists on topics like the power and purpose of art, how it elevates the human mind and cultivates sensitivity, and how art gives peace and vitality to the human soul. Examples of iconic artworks and artists are also mentioned.
The document discusses different forms of art including paintings, sculpture, architecture, music, and their importance. It provides perspectives from various artists on topics like the power and purpose of art, how it elevates the human mind and cultivates sensitivity, and how art gives peace and vitality to the human soul. Examples of iconic artworks and artists are also mentioned.
1. The document discusses different forms of art including paintings, sculpture, architecture, and music.
2. It provides examples of famous artists and their works for each art form, such as Michelangelo's sculptures David and Moses.
3. The document also explores philosophical views on what defines art and its purpose, with quotes from figures like Tolstoy on how art can transmit feelings from the artist to the audience.
Ngoc Nguyen visited the Metropolitan Museum of Art in New York City with their grandparents. The museum has one of the finest Asian art collections which has deepened Nguyen's understanding of art. The museum itself is an impressive architectural structure housing works that transport visitors back in time. Nguyen was particularly struck by the Hall of the Buddha and its seated Bodhisattva statue, feeling a sense of peace and guidance. Overall, the visit provided valuable cultural and educational experiences that enhanced Nguyen's appreciation for art and history.
The Etihad Modern Art Gallery in Abu Dhabi encourages the creation of art with local references and showcases work from established and upcoming Emirati and international artists. As a dynamic multi-functional art space, it has contributed positively to society and the cultural movement by attracting activists and developing emerging talents. The gallery's ambition is to continuously revive the emerging art scene in Abu Dhabi through open dialogue and new concepts while promoting the vision of its founder.
The document discusses different forms of art including paintings, sculpture, architecture, music, and their importance. It provides perspectives from various artists on topics like the power and purpose of art, how it elevates the human mind and cultivates sensitivity, and how art gives peace and vitality to the human soul. Examples of iconic artworks and artists are also mentioned.
The document contrasts Chinese and European art styles through examples. In China, a painter disappeared into his own cave painting. Europeans feared depicting eyes realistically in case the subject came to life. A blacksmith used his painting skills to impress a painter's daughter. Chinese art requires viewers to actively participate mentally, while European art aims for perfect realism. The concept of landscape in Chinese art represents the Daoist view of yin and yang energies interacting in nature and in the void between them.
The Gahoe Museum in Seoul houses one of the most comprehensive collections of Korean shaman art in the world. The collection, assembled by founder Yeolsu Yoon, includes shaman paintings, folk art, amulets, books, and relics that provide insight into indigenous Korean culture and spirituality. Shaman paintings often depict deities and spirits that play important roles in shaman rituals and folk beliefs. Yoon's article explores some of the most significant deities represented in the collection, such as the Five Direction Guardians, Seven Star Spirit, Mountain God, Buddha Trinity, military generals, and disease-related spirits. The museum strives to preserve these works of art and educate the public on Korean folk traditions
The document discusses the differences between Chinese and European landscape art. In Chinese art, landscapes are meant to represent the artist's inner spiritual and conceptual thoughts rather than reproducing an actual view. The landscape allows viewers to enter it from any point and travel through it at their own pace using their imagination. In contrast, European art aims to allow viewers to see exactly the view as the artist saw it from a single perspective. Two stories are provided that illustrate these differing artistic goals between representing inner essence versus realistic illusion.
The document summarizes the key differences between Western and Chinese landscape painting traditions. In the West, the aim is realistic illusion and accuracy, showing a specific view from one angle. In China, landscapes are conceptual spaces that do not depict a single view, allowing the viewer to enter from any point and travel through mentally. The Chinese landscape incorporates Daoist concepts of yin, yang, and the void between as a space for meditation. It requires active participation from the viewer to enter the artist's mind rather than just borrowing their eyes.
The document provides an overview of two parts about art and landscape. The first part discusses Chinese paintings from the Tang Dynasty and stories about famous painters like Wu Daozi. It also mentions Chinese shan shui philosophy of representing nature. The second part discusses the concept of outsider art or art brut, giving the example of Nek Chand who created the unique Rock Garden in Chandigarh using discarded materials without formal training.
Chinese art focuses on the spiritual and inner meaning rather than reproducing realistic landscapes. It allows viewers to use their imagination to travel within the painting. In contrast, European art aims to accurately depict nature and let the viewer see exactly what the artist intended. The chapter illustrates this difference through two stories - one involving a Chinese painter who could transport the emperor into a mountainscape painting, and another about a European artist who painted a fly so realistic that the viewer tried to swat it.
Final Art Project: Mythology in Art by Lauren Priebepriebe2
This document provides information on five artworks from the Prado Museum in Madrid, Spain that depict mythology. It includes details on the medium, dimensions, and key elements of each piece: Venus (sculpture), The Three Graces (painting), The Contest of Diana's Nymphs (ceramic), Crossing the River Styx (painting), and Sarcophagus with the Story of Achilles and Polyxena (sculpture). The author selected these pieces because they represent different stories and figures from mythology through various artistic mediums.
The three unities refer to Aristotelian rules for drama that prescribe: 1) the unity of action, where a play should have one main plot with few subplots; 2) the unity of place, where a play should take place in a single location without changing places on stage; and 3) the unity of time, where the events of a play should occur within 24 hours. Aristotle noted that these unities were generally followed in Greek plays since Aeschylus, except for a few cases, though he did not prescribe them as absolute rules. The unity of place was also assumed to keep the chorus, present throughout the performance, from needing excuses to move between locations. Examples given are Sophocles' Oed
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive function. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms.
Psychoanalysis
The relational focus was there from the beginning.
In between Biology and Psychology: genetic vulnerabilities in interaction with the primary caregivers.
How do somatic sensations develop into human feelings?
How do emotions develop into feelings?
How develop somatic sensations into intentional behavior with a symbolic meaning?
How do biological factors, genetic vulnerabilities and environmental factors interact with each other?
This document is a student paper submitted to Bhavnagar University discussing Dhvani theory and Alamkara in Sanskrit poetics. It provides an introduction to Dhvani theory as proposed by Anandavardhana, discussing concepts like Prakrata Dhwani, vaikrta Dhwani, and how Dhvani theory elevates discussion on the essence of poetry. It also discusses the different meanings of Dhvani and the two main divisions of Dhvani theory. Finally, it defines and discusses concepts of Alamkara, including different types like Varnalankar and Shabdanulankar.
The document discusses different theories about the function and purpose of tragedy. It covers the catharsis process, purification theory, and examines perspectives that tragedy helps temper emotions, provides a form of learning or pleasure, and serves purposes beyond just purgation or purification such as psychological or ethical interpretations. The document also references theorists like Lucas, Richards, Robertello, and Castelvetro in relation to these various theories and approaches to understanding tragedy.
This document is a student paper on Aristotle's theory of catharsis. It discusses how Aristotle used the term "catharsis" in his definition of tragedy. Catharsis refers to the purification and release of emotions, especially pity and fear, that occurs when watching a tragedy. The paper also examines different interpretations of catharsis, including medical, psychological, purification and clarification theories. It argues that catharsis provides pleasure by allowing viewers to experience and release pity and fear in a safe way through the artistic medium of tragedy.
The document discusses the concept of mimesis or imitation in art. It states that all art is mimetic in nature as it imitates life and reality. The poet is twice removed from reality by imitating ideas which are themselves imitations of reality. Aristotle defined art through 'mythos' and 'praxis' and considered mimesis to be central to poetry. He argued that mimetic art is superior to philosophy and history. While the historian reports what happened, the poet depicts what might have or ought to have happened, making poetry more universal than history. All art forms differ in how they achieve mimesis, through sounds, colors, actions or words. The ultimate end of poetry, according to
Introduction to Mimetic Theory and Pragmatic Theorytejasviajoshi
This document provides an introduction to mimetic theory and pragmatic theory. It discusses that mimetic theory, which originated in ancient Greece, views literary works as imitations or representations of real life. Pragmatic theory is concerned with the practical effects of literature on its audience. It gives examples of mimetic theory in the works of Plato and Aristotle and of pragmatic theory in the poetry of Sir Philip Sidney.
Este documento presenta una breve historia de la evolución del arte a través de los tiempos, desde la antigua Grecia y Egipto hasta la era moderna, destacando algunos artistas e hitos importantes como el Kouros, la Venus del Baño, Miguel Ángel, Botticelli, Monet, Picasso, Dalí y Leonardo da Vinci.
This document provides an overview of psychoanalysis and its development. It discusses how psychoanalysis emerged from 18th century intellectual movements and was further influenced by 19th century thinkers. The document then focuses on Sigmund Freud and his development of psychoanalytic theory, including his concepts of the id, ego, and superego; psychosexual stages; and defense mechanisms. It also notes some common criticisms of psychoanalysis and Freud's theories.
This document discusses the concept of catharsis and Aristotle's views on it. It notes that there has been much controversy around what exactly Aristotle meant by catharsis. It examines questions around Aristotle's actual view of catharsis, how accurate his view is considered to be, and what led him to adopt this theory of catharsis. Specifically, it suggests Aristotle developed his theory of catharsis in response to Plato's criticisms of poetry by arguing that tragedy can purge emotions rather than encourage uncontrolled feelings.
There are three main types of irony: verbal, situational, and dramatic. Verbal irony occurs when what is said differs from its intended meaning. Situational irony is when an event has an unexpected or opposite outcome. Dramatic irony occurs when the audience knows something that characters in a story do not. Examples from the Twilight series demonstrate each type, such as a character's age or intentions being different than their words imply.
There are three main types of irony: situational irony which occurs when the opposite of what's expected happens, verbal irony which uses words to convey a meaning different than the literal meaning, and dramatic irony where the audience knows something that characters in a story do not, creating suspense until they learn the truth.
The document discusses Jacques Derrida and his theory of deconstruction. Some key points:
- Derrida was a French philosopher who introduced the theory of deconstruction in 1967 to challenge philosophical traditions and binary oppositions.
- Deconstruction examines contradictions within texts and aims to uncover what has been marginalized or repressed.
- It focuses on how language achieves power and how words cannot express fixed meanings, as every statement leaves out other possibilities.
The document defines and provides examples of different types of irony: verbal irony uses sarcasm to express the opposite meaning of what is said, dramatic irony occurs when the reader knows something a character does not, and situational irony involves unexpected situations that are opposite of what was expected. Examples are given for each type of irony to illustrate these concepts.
This document discusses the concept of deconstruction. It outlines four conceptions of meaning - idealist, humanist, structuralist, and post-structuralist/deconstructionist. Deconstruction decentralizes meaning-making systems by exposing how they posit a privileged center or origin of meaning. It observes that all signifying systems operate through binary oppositions where one term is favored over the other. The goal of deconstruction is to dissolve these hierarchical oppositions and reveal the instability of truth claims based on the privileged terms.
1. Deconstruction began as a philosophical movement that questioned metaphysical assumptions in Western philosophy. Thinkers like Rene Descartes and Fredrick Nietzsche began questioning the objective truth of language.
2. Jacques Derrida developed deconstruction as a form of semiotic analysis that disputed philosophical centers of meaning and binary oppositions. He analyzed how meanings shift within language.
3. Deconstruction examines how texts undermine or defer fixed meanings through ambiguities in signs and changing relationships between signifiers and signifieds. It aims to "de-center" the search for transcendental truths or meanings.
The document discusses the architectural style of deconstructionism, which originated in the 1980s and was influenced by philosopher Jacques Derrida's theory of deconstruction. Key characteristics of deconstructionist architecture include manipulating and recombining basic building volumes into fragmented and irregular shapes through techniques like layering and angular geometries. The style rejects notions of purity of form and absolute truths in architecture promoted by modernism.
The document discusses Derrida's deconstructionist view of language. Some key points:
1) Deconstruction holds that language is ambiguous and unstable rather than a clear tool of communication, as meanings can slip and change based on emphasis, tone, and context.
2) The meanings of words and phrases are not fixed but rather fluid and dynamic, with any signifier able to reference multiple signifieds.
3) For deconstruction, literature similarly consists of overlapping and conflicting meanings that are undecidable, as different readers will derive various interpretations from a text.
Deconstruction is a strategy for analyzing texts developed by Jacques Derrida that focuses on ambiguities and contradictions in language. It originated from thinkers like Rene Descartes and Fredrick Nietzsche who questioned the objective truth of language. Structuralism, which sought to understand how language systems work, preceded deconstruction. Ferdinand de Saussure's study of language introduced concepts like the signifier/signified and langue/parole that deconstruction examines. Deconstruction analyzes binary oppositions in texts and seeks to reverse the relationship between dominant and non-dominant elements.
The document discusses T.S. Eliot's poem "The Waste Land" and its purpose, form, and influences. It aims to convey a sense of emptiness and aimlessness in the soul and civilization after World War I. Eliot uses techniques like the "mythical method" and references works like Jung's concepts of the collective unconscious and archetypes, Weston's book on the Holy Grail legend, and Frazer's book on mythology and religion "The Golden Bough" as influences. The form is modern and fragmented, using techniques like collage to represent postwar experience.
The document discusses T.S. Eliot's poem "The Waste Land" and its purpose, form, and influences. It aims to convey a sense of emptiness and aimlessness in the soul and civilization after World War I. Eliot uses techniques like the "mythical method" and references works like Jung's archetypes, Weston's "From Ritual to Romance", and Frazer's "The Golden Bough" to structure the fragmented experience of modernity. The form captures 1920s techniques like collage, film, and jazz to represent the dissonance of modern life.
A Reaffirmation of Materiality in Contemporary CeramicsMakoto Hatori
In this brief essay, I explore the idea that contemporary plastic arts have become excessively detached from "objects" as materials. I argue that this loss of materiality has serious consequences for the significance of plastic art. Needless to say, "objects" in this context refer to physical things that exist in the world. And "forms" refer to the shapes and structures of those objects. I hope that this essay will provide a starting point for discussion on the role of objects in contemporary ceramic art. I believe that This is an important issue that deserves more attention.
This document provides information about the exhibition "Take Nine: Artes Mixtes de Nuevo England" being held from March 12 to April 12, 2007 at the Costa Rican-North American Cultural Center in San Jose, Costa Rica. It includes statements from the curator Jane Goldman and each of the nine featured artists - Judy Haberl, Judith Larsen, Peter Laytin, David Prifti, Lois Russell, Jill Slosberg-Ackerman, Josh Simpson, and Elizabeth Tuttle. Goldman describes how the works were selected to relate to her childhood experiences and impressions of Costa Rica. The artists' statements describe their creative processes and the themes and materials in their works.
Dr. Martie Geiger-Ho composes a paradise with ecological conservation as a co...VincentKwunLeungLee
Dr. Martie Geiger-Ho taught me Ceramics during my studio-art studies at HKBU AVA. She is the first-ever art educator who inspired my interest in clay building, glazing and kilning. Indeed, Martie is a holistic artist. She manages to create sculptural ceramics with splendid decorative patterns, acrylic paintings and porcelain vases. She persists with the idea of Naturalism due to her selection of ecological materials. She cares for the underprivileged classes as well and tries all possible means to let this group of students demonstrate their creative talents for receiving more social recognition. For sure, Martie's scholastic researches are awesome and are published as reference art books for contemporary art-history archives.
The document summarizes selected artworks by Venezuelan artist Venuz White from 2004-2006. It describes how her abstract paintings explore the biological and chemical nature of color, inviting viewers on a voyage into the microscopic inner worlds and cellular forms depicted in intricate detail on her canvases. Specific paintings are also listed with their titles, materials, dimensions and dates.
Fusion of Beauty and Philosophy: Makoto Hatori's Artist Statement.pdfMakoto Hatori
The decision to forgo glazes and focus on clay qualities is likened to the delicate texture of white Japanese papers. This choice adds layers of symbolism and visual depth to my ceramic work, creating a multidimensional experience for the viewers.
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Katharsis in a forbidden zone an exhibition by dimple b shah, bangalore, india
1. KATHARSIS IN A FORBIDEN ZONE
Painting, Sculpture, Installation
by
Dimple B Shah
2. The works in the exhibition at Gallery Sumukha, Bangalore, India
represent, epitomise and evoke various alchemical substances to
suggest a precise examination of their properties, the laboratory
paraphernalia alluding to different stages of purification and
transformation, while a host of more or less ordinary objects link the
findings of the quasi-science and modern scholarship with the
character of our reality, human imperfections or impurities as well
as hope and ideals. The large canvases deal with the basic
classical metals of alchemy in a manner that binds them with and
lets them disclose rudimentary qualities of the human disposition.
The artist begins from a position of neutral objectivity and in the
centre of the paintings places a researcher’s table whose frontal
position in vanishing point perspective seems to display it clearly to
the viewer. The table covered by white cloth introduces the sense
of an old-fashioned study but with a tinge of domestic interior. The
vessels for chemical experiments and a profusion of other objects
demonstrate their nature and connections at various planes. With
the help of the titles one can grasp some of the content, whereas,
indeed, like in the obscure science of alchemy, the specific, often
complex relationships between motifs necessitate detailed
elucidation. On longer scrutiny, the objects arranged so as to
indicate their condition begin to stir responding to one another. As
one recalls the words denoting energy, flow and spirit that recur in
Dimple’s drawings, the items on the table top which usually include
devices that heat substances contained in glass retorts appear to
enact self-presentation and transformation, like performers
explaining themselves to the attentive audience. The sense of a
nearly theatrical scene is enhanced by the large format of the
paintings that invite an immediate, static focus from the spectator.
5. The precise, sparing realism of the rendering here aims at lucid objectivity, and yet an imperceptive mood of
enigmatic, fragile transmutation emerges with the glossy translucence of the glass tubes, beaked containers,
smooth bowls and globes, etc. The atmosphere gains an eerie note spreading into the saturated, murky
backgrounds that conjure an endless landscape engulfing the sky merged with the ground over an expanse of
flatness and indistinct depth, its darkness not relieved by the tonalities of ominous, muted radiance
conjuring a somewhat surrealistic impact. The intuition of the real and the subconscious blends then, as a
home interior contrasts as well as blends with the external space indicative of its cosmic dimensions, the
artist considering her theme at the same time on the micro and macro scale, at the personal and social or all-
encompassing levels.
12. The installation is a shower cubicle broad enough
to accommodate a single person, modern and
rudimentary of character but reverberating of
scared bath rituals. The steel shower head, pipes
and basin may be ordinary, their glimmering
smoothness yet exuding a minimalist aesthetic
finesse. The four external walls studded with
hundreds and hundreds of tiny glass bottles with
hair and nail shavings, with ash and salt conjure
an impact that is raw, fragile and perishable as
well as enchantingly ephemeral when the
translucent sheets fill with immaterial radiance
against light. The substances in the phials
represent the physical frame, the medical
allusiveness of the samples in their containers
suggesting illness but also a possibility of cure.
The empty space surrounded by curtains inscribed
with the enigmas of alchemy, between the shower
and the basin strewn with grain salt is intended to
hold and cleanse the invisible spirit, the body and
the soul never to be considered alien. The
sensitivity and the senses of the person entering
the cubicle become engaged on multiple levels,
the sight heightened and completed by the smell
and the sound of water along with alchemical
process hymns.
13. Dimple’s art works, each one separately and all of them together, idiosyncratically parallel the complex ways
of alchemical procedures and the wonders of purifying and distilling whose aim is to attain the true core of
substances in their transmutation into gold, which signifies both understanding of the real nature of things and
of one’s inner self. The recurrence of obscure Latin terms in confrontation and bond with normal motifs lets
one recognise that things lofty and refined can be located only in simple life. Thus, the comparison and
identification of alchemy with art becomes proved or revealed as inherently evident. The true self of an
individual cannot be comprehended apart from the world of other corporeal souls. It cannot even be relished
lonesome because values and good feelings are born in contact with and through their echo in other sentient
entities. The artist then strives to involve the spectators in response to the content of her works which are
expected to trigger involvement and interaction.
14. The second, conclusive installation, “Frozen Accidents
(Chrysopoeia)” needs viewers to set it in motion and
internalise it so that its meaning can be manifested or
each time recreated. The gold-making machine, a black
oven-box on wheels has to continually heat a copper
heart stuck barbeque-like on a rod until it can turn into
liquid and become gold. Although conceived by Dimple,
the contraption can be set to rotate only by the viewer,
the affection of whose heart is assumed to make the
process possible as well as connect with the artist. The
spectator’s capacity for love will reciprocate the luminous
fire in the alchemical vessel, its force multiplied and
allowed to increase speed thanks to its own reflection in
the mirror. The desired result uniting and transforming
people thanks to their seeing themselves on others is
expressed here by a metaphor sourced from
psychotherapy and psychoanalysis.
16. “I am a firm believer of the quotation, and hence have used my works
across different periods of time to highlight the state of the society
and unveil the ‘truth’. In my work each element is represented
through its character and quality. Lead has a satanic quality, it is
compared with the planet Saturn that symbolizes time and death.
I have used this character as metaphor. Investigative agencies have
found excessive lead levels in bones and hair samples of criminals,
which is a very clear indication of the connection between increases
in crime rates in our present society. I have displayed this in my work
“Satan’s Gravitas”. Scientifically speaking Saturn has reverse
gravity which is a metaphor for negativity. “Silent View” illustrates
just a single bullet on the table in a surrealistic landscape to display
the power of the metal iron in our society. Iron is now synonymous
with wars, weapons and violence, for disputes arising out of land and
territories. In “Hydrargayrum” the metal mercury plays an important
role. It has a typical chameleon nature – always fluctuating between
solid and liquid state. It also plays an important role in the
amalgamation of different metals. Research has shown a high level of
mercury found in fish, which has an adverse effect on human health.
“Great Expectation” speaks about silver. In history and present
times, silver has always been connected to dreamy worlds and
poetry. The lunar influence on metal also adds to the quality and
character of the metals for eg: the black and white images of
photography where silver is used to bring out the images, and it has
also been linked to film industries “silver screen’.
Dimple B Shah
17. The word lunatic, which has lunar influences, is also linked with the moon. In “Frozen Moment” I have
illustrated the metal gold. Through my work I have metaphorically depicted the marriage of male and female to
get the purest self. The canvas shows a research table used by an alchemist to extract gold, while the material
for the extraction is human, represented by a human heart. In this alchemical vessel the human is transformed
through heat and fire or unconditional love… undergoing the process of an alchemical marriage between ying
and yang, the male and female part of the self to extract the “purest self or real self”. Gold is always linked with
the heart, since gold represents the emotional part of humans. Gold, when heated gives out vibrant colors,
shown vividly in my work. It is also attributed to having a healing effect and that’s why Colloidal Gold is used for
the treatment of individuals with severe depression and heart problems. “Reminiscence” is a set of 20 small
illustrations created, using references from alchemical images derived from various sources. They have been
juxtaposed together and represented as old remains.
In “Metamorphic Reflux Distillation Vessel”, the 2 copper pieces represent the distillation apparatus for
purification. The design is developed with references from indigenous traditional boilers and other cooking
vessels used across homes in daily life. The module has been designed to get the process for double filtrations
(reflux) so that we achieve the purest form. The first model is made with reference to the Indian boiler used to
heat water and has been specially chosen because the heating process is carried out in the central part with
natural sources. From there it moves to the reflux filter where impure vapors and pure vapors are sent to the
next stage of condensation. Finally cooled in the center and turned into liquid form, it travels to the next stage of
multiple filtrations, to finally derive the purest essence. The second sculpture is made with a combination of
different vessels such as the tea jar, steaming jar and boiler.
Frozen Accidents, Chrysopoeia, is a gold making machine where the human heart is in a constant process of
liquefaction till it turns into gold. This can metaphorically be linked to one that has constantly gone through the
cleansing process to realize one’s true self. Fire is an important element in alchemy and purification. Through
constant heat and burning one can extract the real essence of the element. I have used mirror in my work to
amplify the effect of heat so as to speed up the process. In this work I have used some of the script used in old
alchemical text which is not clearly readable, and is in the process of revealing its hidden secret.
18. Tin Cry (Performance) is a video installation piece where I attempt to preserve my body and soul from
decomposition but in the process I realize that it is a completely impossible task since the tin/aluminum foil
which is used to preserve food and other items cannot preserve life, and so it cannot preserve my body and
soul from corrosion. It is a conditional preservation, the whole act becoming a Paradoxical Act. The video is
supported by audio, talking about the experience during my performance. “Catharsis Chamber” represents
my concept in total purification of body and soul. The outer part of the body is represented by ash, salt, nail and
hair samples. The inner part is an empty box. It has a shower that is a part of the process of purification, with
hymns, to enhance the process. Integrated with the elements of sound and smell, the effect is to enhance the
audience’s experience”.
‘Frozen Accidents” is used in relevance to its metaphoric meaning. It represents a heart, which is in a
constant state of transformation through the burning process, finally turning itself into gold. The process of
transformation is incomplete without the participation of the audience involving themselves with the work. I want
my audience and I to go through the process of transformation in this alchemical vessel simultaneously. In this
process the audience will go through different stages of healing and transformation with the warmth of love/fire
in the vessel. This state can be very well explained, with the reference of psychotherapy sessions in
psychoanalysis - something similar happens during psychotherapy. For much of the time it is the patient who is
speaking while the therapist generally exercises what Freud called "non-judgmental listening". As the sessions
continue, the therapist may prompt, reflect back to the patient what has been said, or at times throw out a little
suggestion or even advice. In more intense cases, the processes of transference begins, in which intense
feelings are invoked within the patient. In those cases where projective identification occurs, the therapist may
even become directly aware of contents of the patient's mind. But in all these cases the therapist still attempts
to bracket his or her own feelings, thoughts and reactions in order not to contaminate the therapeutic process.
Nevertheless several skilled therapists have told me of those magical moments in which all boundaries
disappear, moments in which it is not possible to say "where is the healing", or who is the patient and who is the
therapist. On those occasions patient and therapist enter the alchemical vessel together and are warmed by
unconditional love. It is in those moments that the miracle of healing takes place. The Jungian therapist Beverly
Zabriskie has referred to this as the healing of “Frozen Accidents", that is, the melting away of those
"accidents" from childhood that have remained frozen within one. Therapy and insight may go some way
towards the process of thawing, but in the last analysis it requires the heat of love. I hope for a similar effect of
human contact with the art work.