Constructivism
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The Russian Avant-Garde 1912-1930" Has Been Directedby Magdalenadabrowski, Curatorial Assistant in the Departmentof Drawings
Trustees of The Museum of Modern Art leV'' ST,?' T Chairm<ln ,he Boord;Ga,dner Cowles ViceChairman;David Rockefeller,Vice Chairman;Mrs. John D, Rockefeller3rd, President;Mrs. Bliss 'Ce!e,Slder";''i ITTT V P NealJ Farrel1Tfeasure Mrs. DouglasAuchincloss, Edward $''""'S-'ev C Burdl Tn ! u o J M ArmandP Bar,osGordonBunshaft Shi,| C. Burden,William A. M. Burden,Thomas S. Carroll,Frank T. Cary,Ivan Chermayeff, ai WniinT S S '* Gianlui Gabeltl,Paul Gottlieb, George Heard Hdmilton, Wal.aceK. Harrison, Mrs.Walter Hochschild,» Mrs. John R. Jakobson PhilipJohnson mM'S FrankY Larkin,Ronalds. Lauder,John L. Loeb,Ranald H. Macdanald,*Dondd B. Marron,Mrs. G. MaccullochMiller/ J. Irwin Miller/ S.I. Newhouse,Jr., RichardE Oldenburg,John ParkinsonIII, PeterG. Peterson,Gifford Phillips, Nelson A. Rockefeller* Mrs.Albrecht Saalfield, Mrs. Wolfgang Schoenborn/ MartinE. Segal,Mrs Bertram Smith,James Thrall Soby/ Mrs.Alfred R. Stern,Mrs. Donald B. Straus,Walter N um'dWard'9'* WhlTlWheeler/ Johni hTO Hay Whitney*u M M Warbur Mrs CliftonR. Wharton,Jr., Monroe * HonoraryTrustee Ex Officio 0'0'he "ri$°n' Ctty ot^New^or^ °' ' ^ °' "** H< J Goldin Comptrollerat the Copyright© 1978 by TheMuseum of ModernArt All rightsreserved ISBN0-87070-545-8 TheMuseum of ModernArt 11West 53 Street,New York, N.Y 10019 Printedin the UnitedStates of America Foreword Asa resultof the pioneeringinterest of its first Director,Alfred H. Barr,Jr., TheMuseum of ModernArt acquireda substantialand uniquecollection of paintings,sculpture, drawings,and printsthat illustratecrucial points in the Russianartistic evolution during the secondand third decadesof this century.These holdings have been considerably augmentedduring the pastfew years,most recently by TheLauder Foundation's gift of two watercolorsby VladimirTatlin, the only examplesof his work held in a public collectionin the West. -
Staging Revolution: the Constructivist Debate About Composition
Staging Revolution: The Constructivist Debate about Composition Introduction Among the relatively few areas of agreement after the 1917 Russian Revolution, two are particularly noteworthy. The first is the widespread perception that the urban environment was chaotic. Whereas few people agreed as to the source of this chaos (choosing to blame it on the capitalists, the architects, or the intelligentsia), almost everyone believed that urban life after the revolution did not justify the sacrifices and traumas imposed by three years of civil war. The second area of agreement concerned the role of the theater: despite continued and almost irreconcilable differences about what the future should look like, there was almost complete agreement that art and theater could be “weapons” or tools in the revolution. Theater, in particular, would lead the way: from Lenin’s project for monumental propaganda (1918) to the Russian futurists’ declaration that the “streets should be a holiday of art for the people,” there was widespread agreement that art should be taken to the streets, that it was capable of communicating messages in a voice which would be understood, and that theatricality was the key to the unification of the arts. Ironically, one of the reasons why constructivism has been so difficult to study is the fact that it was long understood as a form of art which was against the creation of art. But one of the core values of constructivism was not the rejection of art but the belief that the only type of art which has meaning is one which challenges boundaries and definitions, and that part of this challenge concerns the relationship between the audience and the art work, whether we talk about theater, cinema, photography, or objects. -
David Quigley Learning to Live: Preliminary Notes for a Program Of
David Quigley In an essay published in 2009, Boris could play in a broader social context influenced the founding director John Groys makes the claim that “today art beyond the narrow realm of the art Andrew Rice, as well as the professors Learning to Live: education has no definite goal, no world. Josef Albers, Merce Cunningham, Robert Preliminary Notes method, no particular content that can Motherwell, John Cage, and the poets be taught, no tradition that can be Performing Pragmatism: Robert Creeley and Charles Olson. for a Program of Art transmitted to a new generation—which Art as Experience Unlike other trajectories of the critique Education for the is to say, it has too many.”69 While one On the first pages of Dewey’s Art as of the art object, the Deweyian tradition might agree with this diagnosis, one Experience from 1934, we read: did not deny the special status of art in 21st Century. immediately wonders how we should itself but rather resituated it within a Après John Dewey assess it. Are we to merely tacitly “By one of the ironic perversities that continuum of human experience. Dewey, acknowledge this situation or does this often attend the course of affairs, the as a thinker of egalitarianism and critique imply a call for change? Is this existence of the works of art upon which democracy, created a theory of art lack (or paradoxical overabundance) of the formation of an aesthetic theory based on the fundamental continuity goals, methods or content inherent to depends has become an obstruction of experience and practice, making the very essence of art education, or is to theory about them. -
Social Constructivism and Technology in Instructional Technology and Teacher Education Muktha B
Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 1999 Theory into practice: social constructivism and technology in instructional technology and teacher education Muktha B. Jost Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the Communication Technology and New Media Commons, Curriculum and Instruction Commons, Instructional Media Design Commons, and the Teacher Education and Professional Development Commons Recommended Citation Jost, Muktha B., "Theory into practice: social constructivism and technology in instructional technology and teacher education " (1999). Retrospective Theses and Dissertations. 12202. https://lib.dr.iastate.edu/rtd/12202 This Dissertation is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. -
The Distancing-Embracing Model of the Enjoyment of Negative Emotions in Art Reception
BEHAVIORAL AND BRAIN SCIENCES (2017), Page 1 of 63 doi:10.1017/S0140525X17000309, e347 The Distancing-Embracing model of the enjoyment of negative emotions in art reception Winfried Menninghaus1 Department of Language and Literature, Max Planck Institute for Empirical Aesthetics, 60322 Frankfurt am Main, Germany [email protected] Valentin Wagner Department of Language and Literature, Max Planck Institute for Empirical Aesthetics, 60322 Frankfurt am Main, Germany [email protected] Julian Hanich Department of Arts, Culture and Media, University of Groningen, 9700 AB Groningen, The Netherlands [email protected] Eugen Wassiliwizky Department of Language and Literature, Max Planck Institute for Empirical Aesthetics, 60322 Frankfurt am Main, Germany [email protected] Thomas Jacobsen Experimental Psychology Unit, Helmut Schmidt University/University of the Federal Armed Forces Hamburg, 22043 Hamburg, Germany [email protected] Stefan Koelsch University of Bergen, 5020 Bergen, Norway [email protected] Abstract: Why are negative emotions so central in art reception far beyond tragedy? Revisiting classical aesthetics in the light of recent psychological research, we present a novel model to explain this much discussed (apparent) paradox. We argue that negative emotions are an important resource for the arts in general, rather than a special license for exceptional art forms only. The underlying rationale is that negative emotions have been shown to be particularly powerful in securing attention, intense emotional involvement, and high memorability, and hence is precisely what artworks strive for. Two groups of processing mechanisms are identified that conjointly adopt the particular powers of negative emotions for art’s purposes. -
What Is Dadaism? Some Explanations and Definitions Dada Was, Officially, Not a Movement, Its Artists Not Artists and Its Art Not Art
What is Dadaism? Some explanations and definitions Dada was, officially, not a movement, its artists not artists and its art not art. That sounds easy enough, doesn't it? Of course, there is a bit more to the story of Dadaism than this simplistic explanation. Dada was a literary and artistic movement born in Europe at a time when the horror of World War It was being played out in what amounted to citizens' front yards. Due to the war, a number of artists, writers and intellectuals - notably of French and German nationality - found themselves congregating in the refuge that Zurich (in neutral Switzerland) offered. Far from merely feeling relief at their respective escapes, this bunch was pretty ticked off that modern European society would allow the war to have happened. They were so angry, in fact, that they undertook the time-honored artistic tradition of protesting. Banding together in a loosely-knit group, these writers and artists used any public forum they could find to (metaphorically) spit on nationalism, rationalism, materialism and any other -ism which they felt had contributed to a senseless war. In other words, the Dadaists were fed up. If society is going in this direction, they said, we'll have no part of it or its traditions. Including...no, wait!...especially artistic traditions. We, who are non-artists, will create non-art - since art (and everything else in the world) has no meaning, anyway. About the only thing these non-artists all had in common were their ideals. They even had a hard time agreeing on a name for their project. -
Futurism-Anthology.Pdf
FUTURISM FUTURISM AN ANTHOLOGY Edited by Lawrence Rainey Christine Poggi Laura Wittman Yale University Press New Haven & London Disclaimer: Some images in the printed version of this book are not available for inclusion in the eBook. Published with assistance from the Kingsley Trust Association Publication Fund established by the Scroll and Key Society of Yale College. Frontispiece on page ii is a detail of fig. 35. Copyright © 2009 by Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Designed by Nancy Ovedovitz and set in Scala type by Tseng Information Systems, Inc. Printed in the United States of America by Sheridan Books. Library of Congress Cataloging-in-Publication Data Futurism : an anthology / edited by Lawrence Rainey, Christine Poggi, and Laura Wittman. p. cm. Includes bibliographical references and index. ISBN 978-0-300-08875-5 (cloth : alk. paper) 1. Futurism (Art) 2. Futurism (Literary movement) 3. Arts, Modern—20th century. I. Rainey, Lawrence S. II. Poggi, Christine, 1953– III. Wittman, Laura. NX456.5.F8F87 2009 700'.4114—dc22 2009007811 A catalogue record for this book is available from the British Library. This paper meets the requirements of ANSI/NISO Z39.48–1992 (Permanence of Paper). 10 9 8 7 6 5 4 3 2 1 CONTENTS Acknowledgments xiii Introduction: F. T. Marinetti and the Development of Futurism Lawrence Rainey 1 Part One Manifestos and Theoretical Writings Introduction to Part One Lawrence Rainey 43 The Founding and Manifesto of Futurism (1909) F. -
Read Book Kazimir Malevich
KAZIMIR MALEVICH PDF, EPUB, EBOOK Achim Borchardt-Hume | 264 pages | 21 Apr 2015 | TATE PUBLISHING | 9781849761468 | English | London, United Kingdom Kazimir Malevich PDF Book From the beginning of the s, modern art was falling out of favor with the new government of Joseph Stalin. Red Cavalry Riding. Articles from Britannica Encyclopedias for elementary and high school students. The movement did have a handful of supporters amongst the Russian avant garde but it was dwarfed by its sibling constructivism whose manifesto harmonized better with the ideological sentiments of the revolutionary communist government during the early days of Soviet Union. What's more, as the writers and abstract pundits were occupied with what constituted writing, Malevich came to be interested by the quest for workmanship's barest basics. Black Square. Woman Torso. The painting's quality has degraded considerably since it was drawn. Guggenheim —an early and passionate collector of the Russian avant-garde—was inspired by the same aesthetic ideals and spiritual quest that exemplified Malevich's art. Hidden categories: Articles with short description Short description matches Wikidata Use dmy dates from May All articles with unsourced statements Articles with unsourced statements from June Lyubov Popova - You might like Left Right. Harvard doctoral candidate Julia Bekman Chadaga writes: "In his later writings, Malevich defined the 'additional element' as the quality of any new visual environment bringing about a change in perception Retrieved 6 July A white cube decorated with a black square was placed on his tomb. It was one of the most radical improvements in dynamic workmanship. Landscape with a White House. -
Studia Politica 42015
www.ssoar.info The politics of international relations: building bridges and the quest for relevance Braun, Aurel Veröffentlichungsversion / Published Version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Braun, A. (2015). The politics of international relations: building bridges and the quest for relevance. Studia Politica: Romanian Political Science Review, 15(4), 557-566. https://nbn-resolving.org/urn:nbn:de:0168-ssoar-51674-8 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY-NC-ND Lizenz This document is made available under a CC BY-NC-ND Licence (Namensnennung-Nicht-kommerziell-Keine Bearbeitung) zur (Attribution-Non Comercial-NoDerivatives). For more Information Verfügung gestellt. Nähere Auskünfte zu den CC-Lizenzen finden see: Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0 https://creativecommons.org/licenses/by-nc-nd/4.0/deed.de The Politics of International Relations Building Bridges and the Quest for Relevance 1 AUREL BRAUN The 21 st Century sadly is proving to be a volatile and violent one where the hopes of the immediate years of the post-Cold War era have proven to be ephemeral. International Relations, (IR) at first blush, appears to be ideally positioned as a discipline to help us understand or even cope with the extreme dissonance of the international system. A discreet academic field for a century now, but in fact one of the oldest approaches, IR seems to brim with promise to offer explanation, identify causality and enable cogent prediction. After all, in an era where we emphasize interdisciplinary studies and across-the-board approaches IR appears to be a compelling intellectual ecosystem. -
A Brief Overview of Alexander Wendt's Constructivism Written by Zhan Mengshu
A Brief Overview of Alexander Wendt's Constructivism Written by Zhan Mengshu This PDF is auto-generated for reference only. As such, it may contain some conversion errors and/or missing information. For all formal use please refer to the official version on the website, as linked below. A Brief Overview of Alexander Wendt's Constructivism https://www.e-ir.info/2020/05/19/a-brief-overview-of-alexander-wendts-constructivism/ ZHAN MENGSHU, MAY 19 2020 For decades, the theory of International Relations was dominated by two approaches: realism and liberalism. Constructivism had been marginalized by these mainstream theories because it focused on social construction instead of material construction (Barkin, 2017). The turning point came late in the 1980s as the collapse of the Soviet Union and the end of the Cold War made people reconsider the explanatory ability of mainstream theories (Hopf, 1998). Consequently, a new debate emerged. Under this, the development of Alexander Wendt’s constructivist theory gained attention in academia and began to stand out (Lapid, 2007). Wendt published ‘Anarchy is What States Make of It: The Social Construction of Power Politics’ in 1992. In this paper he revealed the limitation of the concept of anarchy from the neorealist and neoliberal theories in explaining international relations (Wendt, 1992). In 1999 he further developed the theory in Social Theory of International Politics. In the book, Wendt opened up a moderate lane in the development of constructivist theory (Guzzin & Leander, 2001) and essentially created a ‘thin’ constructivism. That is, Wendt recognizes the main points of materialism and individualism, as well as a scientific methods of social inquiry. -
Wendt's World
Review of International Studies (2000), 26, 151–163 Copyright © British International Studies Association Wendt’s world STEVE SMITH1 Alexander Wendt’s book, Social Theory of International Politics2, is published twenty years after Kenneth Waltz’s enormously influential Theory of International Politics3. The similarity in their titles is no coincidence4, since Wendt wants to build on the insights of Waltz’s realism5 and construct an idealist and holist account of international politics (not, note, international relations). In my view, Wendt’s book is likely to be as influential as Waltz’s. It is a superbly written and sophisticated book, one that has clearly been drafted and redrafted so as to refine the argument and anticipate many of the likely objections. I think that although I can anticipate the objections of both his rationalist and his reflectivist critics. I am also aware that he makes life difficult for them by defining his ground very precisely, and by trying to define the terms of any debate in which he might be engaged. Criticism of the book is not an easy task. The book is likely to become the standard account for those working within the social constructivist literature of International Politics. It is a book that has been eagerly awaited, and it will not disappoint those who have been waiting for Wendt to publish his definitive statement on constructivism. Wendt’s aim is nothing less than developing a middle way between rationalist and reflectivist theories of international relations. In his first two pages he outlines his position: he wants to defend a ‘moderate’, ‘thin’ constructivism both against those more mainstream scholars who reject all notions of social construction as ‘postmodernism’, and against those ‘more radical’ constructivists who will think that his approach does not go far enough. -
Constructivism, Education, Science, and Technology
Canadian Journal of Learning and Technology Volume 29(3) Fall / automne, 2003 Constructivism, Education, Science, and Technology Moses A. Boudourides Author Moses A. Boudourides is an Associate Professor in the Department of Mathematics of the University of Patras, Greece. His research interests include mathematical sociology, Internet research and Science & Technology Studies (STS). Communication regarding this article should be addressed to Dr. Moses A. Boudourides. Address: Mathematics Department, University of Patras, 265 00 Rio Patras, Greece. Phone/Fax: +302610996318. Email: [email protected] Abstract Abstract: The purpose of this paper is to present a brief review of the various streams of constructivism in studies of education, society, science and technology. It is intended to present a number of answers to the question (what really is constructivism?) in the context of various disciplines from the humanities and the sciences (both natural and social). In particular the discussion will focus on four varieties of constructivism: philosophical, cybernetic, educational, and sociological constructivism. Résumé: Cet article a pour objectif de passer brièvement en revue les différents courants de constructivisme dans les études sur l'éducation, la société, la science et la technologie. Il a également pour intention d'offrir un certain nombre de réponses à la question « Qu'estce réellement que le constructivisme ? » dans le contexte de diverses disciplines appartenant aux lettres et sciences humaines, ainsi qu'aux sciences (naturelles et sociales). La discussion se centrera tout particulièrement sur quatre variantes du constructivisme: philosophique, cybernétique, éducatif et sociologique. Introduction It is generally acknowledged that constructivism constitutes a very important, although often contested, practical and theoretical perspective in current education research.1 A first `mild' (or ` .