Abstract In this article, the writer outlines the effects and impact of townplanning on wider concerns. This is achieved by briefly highlighting the basic tenets of townplanning and the manner in which differing models understand the issue. This is followed by an assessment of the factors that make the impact of townplanning difficult to measure. However, the final section of the piece offers various methods for accurately understanding the impact of townplanning by using a wider theoretical foundation for analysis.
From the Paper "Outside the CBD is what is called the inner city area. Traditionally in Britain, this is where the main industrial complexes were established. Due to the decline in manufacturing and heavy industry in the mid and latter 20th century the majority of these have disappeared, but much of the housing used the provide homes for the workers remains. Next are the suburbs, which are mainly the result of housing programmes from the inter war years, and were a consequence of increased transport and communication links with the CBD. At the extremities of the town are the rural urban fringes, again a consequence of higher quality transport availability to the centre of the town. Built largely in the post 1945 period, space and luxury are often deemed vital considerations in the development process."
Abstract This paper discusses the problem of urban blight and what must be done to make a city livable. The paper discusses the concept of 'New Urbanism', a plan endorsed by enlightened planners that emphasizes the "human scale" of all its undertakings. The paper explains that 'New Urbanism" embodies the idea that people must not feel squeezed-out by overly large buildings and that a community must address the diversity of real-life human beings. The paper further discusses the significant role that both architecture and art play in making a city livable and likeable and explains that the more human the urban space, the more inviting, and invigorating it will be.
From the Paper "Huge numbers of economically-disadvantaged families can overwhelm any community. The problem is made worse by the lack of any coherent plan; any attempt to use the gift of modern technology to alleviate these deplorable conditions. We tend to believe that urban blight is inevitable - the price we pay for living in such a high-tech, fast-paced society. Yet we need not be slaves of our technology. Technology can help us to beautify our environment, help us to create livable urban spaces that we can all enjoy."
Abstract This paper discusses the main reason why, in the early 1700s, British townplanning seemed to diverge from that on the continent, even though a common heritage was present. The conclusion is a surprising amount of politics, national rivalry and religious differences that altered British building environment.
From the Paper "Baroque design flourished on the continent between 1600 and 1750, particularly in Catholic countries. It tended to be expressive, flamboyant and encouraged by the Roman Catholic church (Hutchinson:2005). A Baroque designer would usually have had the support of a ruler and would therefore expect his development to be completed in its entirety, in contrast to events at the Royal Crescent in Bath, for example. The emergence of Baroque town planning in continental Europe is tied to the Renaissance, Reformation and subsequently the Counter-Reformation. Advances in science and the discovery of the New World provided the context for the creation of towns and cities that came to reflect the new wealth of the major European powers as well as the new cosmopolitanism of the ruling classes. "
Abstract In this work, Oscar Wilde's plays are partially taken into deep consideration as an analysis of his playwright identity. In the process of the discovery of his decadent resentment of the late nineteenth century orders, the influential figures of the new movement are also indicated. Oscar Wilde and Walter Pater have important parallels among their Epistemologies, ethics and aesthetics. The writer uses extensive examples primarily regarding to Pater's first book, Marius The Epicurean: His Sensations and Ideas (1885) and Wilde's plays of 1894, An Ideal Husband, and The Importance of Being Earnest, to display their aesthetic ideology to demonstrate the precise link between the two, for it has never been convincingly interjected. The main question underlying this paper is of how Wilde perceives art. While exploring his conception of art, dandy-ism is comprehensibly touched in order to reveal his aesthetic identity. However, this paper discusses his aesthetic ideology in the context of individualism through the referencing of some of his works, particularly his aforementioned plays. The question at the basis of this preoccupation is of how Wilde displays the expressing of individuality and idiosyncrasies through art and in particular the value of art.
From the Paper "The use of Puns is another concept that pars to both the aesthetic identity of Walter Pater as well as the aesthetic identity of Oscar Wilde. In this play "The Importance of Being Earnest", the pun, which is generally believed to be the lowest structure of oral humor, is hardly ever just a humor on words. The duality of the title in itself is proof of that. One example of such a notion lies in the earnest/Ernest humor that is utilized to hit the very truth of all the Victorian ideas and rules regarding propriety and responsibility. Gwendolen wants to be betrothed to a man named Ernest, without giving a thought to whether the man bearing such a name bears its qualities too or not. She, nevertheless, immediately exonerates Jack's dishonesty in personifying a man who is originally neither "earnest" nor "Ernest," and who, because of forces stronger than his own power, consequently develops both "earnest" and "Ernest." Jack is a perfect paradox and a compound emblem of Victorian duplicity."
Abstract In this article, the writer discusses the interrelationship between ethics, aesthetics, criticism, and art. The writer describes how criticism interacts closely with each of the other aspects.
From the Paper "W J Bate xiii commented that the great justification of criticism at any time is that it can help to bring into focus and emphasize the function of the arts and of the humanities themselves. Inevitably, criticism enjoys close synergies with both aesthetics and ethics, as well as with a group of four principal players, artist performer, critic ,evaluator, audience, market and manager entrepreneur and a set of four outer forces culture and society law and politics economics and finance and science technology ... "
Abstract The author of this paper discusses contemporary art in the light of a course taken in college. The writer of the paper states that contemporary art is art that is uniquely self-conscious of its time, that it is art that does not aspire to be universal or to offer abstract ideals about truth, but instead speaks about a particular aesthetic or moment in time. In an attempt to prove the validity of his statement, the author examines the works of a number of contemporary artists.
From the Paper "Likewise, Barbara Kruger's feminist use of collages, one of which proclaims to the viewer that 'your body is a battlefield' takes photographic images and superimposes ironic labels on top of those images in a way that demands the viewer question his or her assumptions about gender. Work like Kruger's shows how new ways of creating art, namely film, photography, and video, began to flourish at the same time as contemporary art, and many contemporary artists have used new technology to further question what is art, and the ways that art can be created. It can be striking to see what is assumed to be 'real,' namely a photograph, deconstructed and reconstructed, as it is in some of David Hockney's works. This can be, to some extent, even more startling than some of Warhol's deconstruction of advertising and celebrity, although Warhol also embraced film towards the end of his career as part of his artistic project."
Abstract In this article, the writer notes that the central intention of "The Abuse of Beauty" by Arthur Danto is an investigation of art theory and aesthetics that can be unpacked in terms of two central and related trajectories. The writer discusses that Danto firstly explores the assumption that beauty is a measure of what art is or should be. In the exploration of this assumption, Danto explains how the ideal of beauty has been derided and opposed in modern art theory. The writer points out that related to this is the second trajectory, which is an analysis of the changes in the definition and meaning of art.
From the Paper "The fact that art is in a state of crisis and flux in terms of its meaning, definition and status is clear from the analysis of modern theoretical concerns and contemporary aesthetics that Danto provides in this work. He uses the central subject of beauty not only to elucidate on this state of crisis but also to advocate a more open ended and inclusive understanding of art; that is not only circumscribed and determined by the concept and ideal of beauty. While clearly showing in his analysis of the changes in thinking about art why beauty cannot be the determining factor in art, he also pleads for the inclusion of beauty as an aspect of the definition and understanding of art - but only as one aspect and not the sole determining factor.
"Throughout this piece, Danto is clear in his view that the development of movements, innovations and understanding in art are closely aligned to theory and philosophical discourse."
Abstract This paper examines the influence of Hishikawa Moronobu on Japanese art before 1952. The paper shows how it is evident that down through the long centuries of Japanese history, the dialectical tension in Japanese society and culture between the competing traditions of high aesthetics and the military code has been expressed in thousands of paintings, books and works of art. The paper explains how at times, high aesthetics assumed greater social influence, while at other times, the militaristic tradition was dominant.
From the Paper "The artistic aesthetics of Japan developed down through the centuries in a uniquely Japanese fashion, partly because of this isolated nation's geographic existence as a string of islands about one-hundred miles from the peninsula of Korea and five-hundred miles from China on the Asian mainland."
Abstract This paper analyzes the African Sowei mask. It discusses the object as art and as a reflection of the spiritual and cultural values of the community. The author also mentions the connection to African aesthetics and reproduction.
From the Paper "African art combines the visual image with spiritual beliefs and social purpose. As an art object the mask is a piece of sculpture that represents the cultural attitudes embodied in the meaning or content of the object. The image of the Sowei mask carved in ..."
Abstract This paper explains that, although multimedia now is commonly used in teaching the traditional curriculum such as the sciences and humanities, the utilization of multimedia in art education is less widely understood. The author believes that this difference between the degree of usage of multimedia in art education as compares to traditional education relates to the uniqueness of the art discipline and its position on the fringe of academia. This paper reviews the literature concerning the use of multimedia in art classrooms. The paper then reviews the definitions and meanings of multimedia, the theory behind the use of multimedia, the historical development of multimedia, current uses of multimedia, and recommendations for the involvement of multimedia in art education.
Table of Contents:
Multimedia: Definition and Meaning
Theory
Historical Setting
Description of Technology
Examples of Art Programs where Multimedia Content is Offered
Recommendations for Art Education Involvement with Multimedia
From the Paper "An example of an integrated interactive multimedia teaching approach can be found at Indiana University, where a general elective course in art is offered at the undergraduate level. Students taking this course come from various academic backgrounds. Using an interactive program, they can choose from a collection of 100 lessons to construct their own course content. Students taking this course come from various academic backgrounds. Guidance and counseling is given by expert peers rather than by conventional instructors."
Abstract This paper looks at the effect that the printing press had in the spread of art and culture through the eyes of Walter Benjamin in Samuel Weber's essay, "Art, Aura and the Work of Walter Benjamin." Whereas Benjamin felt that mass reproduction was bad for the art world, he argues that the invention of the printing press allowed books to be read all over the world thereby changing the uniqueness of each painting. This paper also takes a look at the Mona Lisa, and explains that the ability to reproduce it is a positive thing, that, even though it's "aura," is no longer unique, many more people are now able to experience art.
From the Paper "With the invention of the printing press, however, books could be manufactured quickly and cheaply, and were available to great number of people. Two people living hundreds of miles apart could read the same book and find the same words, the same illustrations on the same page. However, the printing press also took something away from books - the originality and artistry that the monks had poured into each unique volume. Walter Benjamin would say that the aura of the monks' volumes was withering away, while the aura of the mass reproduced books was flourishing."
Abstract This paper explains that art in pre-War and post-War European Axis countries, in particular Germany, was diametrically different. These differences were largely a result of societal conditions. The paper also explains that pre-War art primarily took the form of propaganda and craft but that after the war, with the exception of Russian art, the art of the Axis countries changed as a result of the influence exerted over them by the west and their own desire to rejoin the brotherhood of nations.
From the Paper "The figures in the art, whether supposedly gallery art or poster-propaganda art, were supposed to be admirable 'native' figures of whichever nation was producing the art. The style was supposed to relate, also, to previous artworks, although, "In Soviet Russia, however, the whole notion of the 'aesthetic' was rejected as a bourgeois anachronism and was gradually replaced by the evolving theoretical criteria of Socialist Realism." Images of these works come readily to the mind's eye; almost cartoon like, oversized, over muscled figures in plain clothing operating large machines, for instance. "Triumphant was the Holy Trinity of peasant, worker and warrior. And from the very summit of this blasphemous altarpiece shone down the spirit from which all power was derived: the quasi-divine presence of the Leader himself" (Elliott, 1995), at least in Germany."
Abstract The paper explains the importance of Geisha to the Japanese culture. The paper explains that Geisha means "a person of the arts" and the typical geisha was adept in flower arranging, calligraphy, music, dance, and the unique Japanese tea ceremony. The paper describes the art exhibit that will include the Kimono traditional clothing, Ikebana (flower arranging) and Japanese calligraphy. The paper relates that visitors to the art exhibition will leave with a clear understanding of geisha's striking contrast with the reserved nature of the regular Japanese culture. The paper includes images of the Kimono clothing, flower arranging and Japanese calligraphy.
Outline:
Geisha Art Display
The Art Pieces
Kimono
Ikebana
Calligraphy
From the Paper "To understand the importance of Geisha to the Japanese culture as well as its significance within that culture, one must first understand Japanese culture. Within Japan the Japanese language epitomizes the culture with its emphasis on order and structure while such aspects as clothing, epitomized by the kimono which means literally "something that is worn" are widely seen within the culture as the ideal of Japanese garments (Sugimoto 43). Additionally, Japanese culture takes art forms such as painting, wood block prints, and especially calligraphy based on Chinese characters and makes of them a highly stylized, abstract art form. Yet, Japanese are, in their daily lives, quite reserved and adhere to strict social mores regarding behavior, speech, and a high regard for social order (Sugimoto 14). Thus, it can be imagined that where the typical historical Japanese woman might be reserved and less forward in not wanting to bring attention to herself geisha became a highly stylized representation of the Japanese woman. That is, without the social constraints of folkway and mores that barred traditional Japanese women from self-expression, geisha might be thought of as the unconscious expression of how many women, and men, conceived them to be."
Abstract A look at the depiction of human fetish and desire in the making of video art and video pornography. The author argues that the depiction of erotica, pleasure and satisfaction are equally revealed in both types of film making, making the fine line between the two types of styles hard to discern. The author argues that both approaches are valued as forms of entertainment. The author supports this argument by referring to similarities in aspects such as: mechanical reproduction and mass consumption of the creative works.
From the Paper "Human fetish and desire are very powerful forces behind video art and pornography. Our need for pleasure and expression leads us to all sorts of ends for personal achievement and satisfaction. Erotica and pornography have rich roots in video art. With the emergence of video came the rise in popularity of video pornography. The historical development of video art and video pornography share obvious technological similarities. Ironically these forms of arts and entertainment do not only hold technological similarities but remarkable parallels in the work that was being produced. In this paper I will further blur the fine and almost invisible line between video art and video pornography. This blurring will show that video art and video pornography are equal in their value as products of arts and entertainment."
Abstract This paper explains that that Sir Patrick Geddes was one of the founders of townplanning as a profession. The author points out that Geddes was the first in Britain to use "landscape architect" as a professional title. The paper relates that he derived his ideas from a study of evolution under T.H. Huxley and, in turn, Geddes'greatest influence was through his student Lewis Mumford.
From the Paper "Patrick Geddes (1854-1932) was a Scottish biologist and town planner. He made use of the theory of evolution, which he studied with T.H. Huxley, using it as a basis for his ethics, history, and town planning. For instance, he created "a botanical garden for the University of Dundee which aimed to show the relationships between groups of plants and also their historical significance" (Turner para. 1). He carried this into his work in different ways, producing the key book Cities in Evolution in 1915. Sir Patrick Geddes was one of the founders of town planning as a profession and was the first in Britain to use "landscape architect" as a professional title (Turner para. 1)."
