Fine Arts & Performing Arts
More specific subjects:
Creativity and collaboration in fashion education. Languages, skills, and methodologies in a collaborative learning approach
Fashion Education Creative Languages Skill Development Experiential Learning Design Thinking Creative Facilitation Material Experimentation Cross-Disciplinary Learning Ideators and Makers Practice-Based Research Educational Framework Process Documentation Domain-Specific Creativity Domain-General Creativity
Moving between artistic research, cultural institutions and community building
Since 2021 a collaboration has been built between Fontys Academy of the Arts and the community centre Wij West in Tilburg West in the framework of the professorship Artistic Connective Practices. Through residencies conducted by international artist-researchers from different disciplines this collaboration focuses on how arts could connect residents of the area to themselves others and their neighbourhood. The text elaborates on six points of interest that emerged from the project regarding the way art institutions could work with agents from civil society and citizens.
Onderzoeken is ontmoeten. De epistemologische verankering van artistiek onderzoek in de artistieke attitude
In this article we demonstrate how artistic research can be grounded in what we refer to as “the artistic attitude” and can be understood from the performative paradigm. The essence lies in the fact that artistic research is not so much seeking ‘objective’ knowledge but rather striving for a more ecologically sensitive approach in which unexpected interweavings and encounters are allowed to take place.
Nooit te oud om een scène te maken. Theater met senioren in woonzorgcentra
How can theatre contribute to the well-being and autonomy of older adults in residential care centres? Teaching artist Lies Vandeburie explores the impact of drama on imagination social interaction and a sense of purpose among residents. Through theatre sessions in three care homes in Antwerp she investigated how participatory theatre encourages older adults to play again make choices and rediscover themselves. Her research also exposes structural challenges within elderly care and advocates for the sustainable integration of the arts in residential care settings.
Latent spaces in artistic research. A continuous paradigm before and after AI
This article proposes reframing latent space – originally a technical term in artificial intelligence – as a methodological archetype capable of capturing key dynamics within artistic research. In doing so it also problematizes the epistemological boundaries and peculiarities underlying both AI and artistic research. We also introduce the AI-mediated platform °’°Kobi which functions as an epistemological tool that closely resonates with artistic research understood as a latent space – non-linear emergent and driven by associative processes.
Walking the unmapped. A proposal for reimagining the history of art residencies through cross-cultural methodologies
This paper reimagines the dominant history of residencies by highlighting cross-cultural methodologies and artistic research as sites of knowledge-making. It explores early mediaeval Islamic approaches to creativity and travel bringing together post-representational cartography and al-Khabar narratives. Through the case of?Beyond Qafila Thania an experimental walking residency it advocates for plural knowledge systems challenges dominant epistemologies and proposes a more inclusive historiography grounded in situated hybrid methodologies.
Eco-tonality. An ecology with sound in capitalist ruins
When an ecosystem and an improvisational system overlap an eco-tonality emerges: a transition zone that reveals latent characteristics of the two systems at play. This article explores the margin between improvised music performance and soundscape from a trans-disciplinary perspective integrating ecology post-human philosophy and improvisational practice. As a case study my performance [in situ] will be examined to analyse eco-tonality through its key features.
Stones of Zadar
The Capital of Venetian Dalmatia
The book investigates the transformation of the architectural and visual language in Zadar eastern Adriatic town at the dawn of the early modern era when the mighty mediaeval commune was being transformed by the emerging governmental structures of the Republic of Venice. These events coincided with the Ottoman Empire's takeover of the hinterland of Dalmatian cities transforming Zadar into a city on the brink of two worlds.
A highly autonomous mediaeval commune was a lively trans-Adriatic artistic centre a network of builders painters and sculptors from Dalmatia Venice Marche and Lombardy so with the early adoption of humanist concepts by the local elite this practice continued. However the transformations the governmental structure and economic policies steadily limited its community autonomy and commercial sources. The crisis worsened in the 16th century when the local elites lost a large portion of their revenue from the fertile hinterland captured by the Ottoman Empire.
This launched an ongoing militarisation of social structures and fortifying the town. These events were reflected in the fields of architecture and art. The process of adopting a new architectural and artistic language began in the second half of the 15th century as demonstrated by motifs in architectural decoration and sculpture with impulses from important Dalmatian sculptural and stonemasons’ circles as well as Venetian models from the circles of Pietro Lombardo and Mauro Codussi. When the new classical language of architecture began spreading in the middle of the 16th century it expressed mostly in the renovation of administrative structures with occasional departures from the stylistic canons of artistic centres.
The Imagery and Aesthetics of Late Antique Cities
While the role of the city in Late Antiquity has often been discussed by archaeologists and historians alike it is only in recent years that scholarship has begun to offer a more nuanced approach in our understanding to how such cities functioned stepping away from the traditional paradigm of their decline and fall with the collapse of the Roman Empire. In line with this approach this deliberately interdisciplinary volume seeks to provide a more multifaceted understanding of urban history by drawing together scholars of literary and material culture to discuss the concepts of imagery and aesthetics of late antique cities.
Gathering together contributions by historians philologists archaeologists literature specialists and art historians the volume aims to explore the imagery and aesthetics of cities in Late Antiquity within a strong theoretical framework. The different chapters explore the aesthetics of cityscape representations in literature and art asking in particular whether literary representations of late antique urban landscapes mirror the urban reality of eclectic ensembles of pre-existing architecture and new buildings as well as questioning both how the ideal of the city evolved in the imagination of the period and if imperial ideology was reflected in literary depictions of cities.
Les colonnes du ciborium de San Marco à Venise
La recherche s’articule autour de trois axes principaux : une lecture approfondie des aspects visibles et matériels qui composent l’œuvre d’art c’est-à-dire les parties sculptées et les inscriptions ; la relation de l’œuvre avec les sources littéraires ; enfin la relation de l’œuvre avec le contexte. L’application d’une méthode globale qui considère l’œuvre d’art comme un objet complexe fait de signes de lieux et d’intentions artistiques a permis une nouvelle interprétation de l’œuvre ouverte à des enjeux tout à fait actuels d’histoire de l’art et connectée à la notion d’histoire et d’anthropologie des objets en constante relation avec le temps et l’environnement.
Ce livre se compose de huit chapitres qui affirment et décomposent à la fois le « système » des colonnes ; ils sont précédés d’une mise en perspective historiographique. L’ouvrage présente également un catalogue exhaustif de fiches décrivant pour la première fois une à une les scènes et les inscriptions des colonnes.
Painter to the Queen
Michel Sittow, Courtier to Isabella of Castile and the Habsburg Dynasty
Michel Sittow was born in Reval c. 1469 today the Estonian capital city of Tallinn. Possibly trained in the workshop of Hans Memling in Bruges he subsequently moved to work in the Iberian Peninsula where he first held the position of court painter. This monograph undertakes research on this phase of his career. In the Kingdom of Castille Michel Sittow was appointed painter to Queen Isabella and became a member of her household with an impressive annual salary. Thanks to the analysis of archival documents and formal and iconographical studies on Sittow’s paintings it is possible to explain the court painter’s life circumstances and describe the benefits he enjoyed and the difficulties he faced. The Castilian period was crucial for Michel Sittow’s career since over the course of his professional life he also resided at the courts of Philip the Fair Margaret of Austria Christian II of Denmark and Charles V all relatives of his first royal patron. While serving European monarchs he transferred Memling’s techniques and visual language beyond the Low Countries and developed his artistic practice and style. The analysis of the various contexts Michel Sittow worked in sheds light on his oeuvre and his possible privileged status as a courtier which provided opportunities to establish a flourishing and ambitious career in northern and southern Europe.
Architectures du monachisme
Une histoire monumentale de l’Île Saint-Honorat de Lérins, Ve-XIIIe siècle
L’île Saint-Honorat de Lérins accueille des religieux depuis le début du Ve siècle. Il s’agit d’un haut lieu du monachisme témoin des expériences ascétiques insulaires qui se développent en Occident durant l’Antiquité tardive. Le caractère exceptionnel de Lérins tient aussi à la longue durée d’occupation du site par des religieux. Ce n’est qu’à partir de 2005 qu’ont été entreprises des recherches archéologiques d’envergure sur l’île : fouilles et archéologie du bâti qui font de Lérins la seule île monastique pour laquelle il existe des vestiges archéologiques remontant de façon assurée aux premières expériences ascétiques occidentales. En présentant ce dossier l’ouvrage de Yann Codou apporte un éclairage inédit sur la genèse du monachisme en Occident où des expériences érémitiques cohabitent au sein de l’espace insulaire avec des formes de vie plus collectives. Les données restituent également les dynamiques du monachisme au cours du haut Moyen Âge et dans les siècles suivants en particulier le processus de communautarisation du monachisme. L’architecture est ici un document historique à part entière qui dialogue avec les sources écrites. Les multiples monuments qui composent le paysage insulaire offrent un terrain de choix pour comprendre des mécanismes de construction identitaire fondés sur la création et la réinterprétation des espaces sacrés. Les enjeux de la recherche dépassent largement l’histoire de la seule communauté lérinienne pour s’inscrire dans une réflexion sur l’organisation des espaces monastiques et leurs mutations tout au long du Moyen Âge.
Saint-Pierre d’Orbais
Social Space and Gothic Architecture at a Benedictine Monastery
The fragmentary remains of the Benedictine monastery of Saint-Pierre d'Orbais in northwest Champagne preserves a particular iteration of Gothic style and technological achievement as well as the built environment of a community deeply embedded in the world around them. Through their architecture successive generations of monks of Orbais whose institutional life stretched from the end of the seventh century to end of the eighteenth century were constantly seeking to clarify their position in the changing physical and social landscapes they inhabited. Although connected by a shared site the architectural evidence from Orbais preserves remnants from several episodes of use and reuse. The site is treated thematically starting with the boundaries that define the site then the resources that shaped monastic life in this particular location followed by the monastic landscapes that shaped the community as an institution. These categories reflect both the nature of our evidence for the contexts of building construction and the types of landscapes that were most active for the monastic community at Orbais over the long life of the site. The final chapter resituates the architectural history of the monastic church in light of these interrelated landscapes contextualizing existing scholarship that treats it as a specifically Gothic monument and providing lines of connection to medieval built environments more broadly.
Communicating the Passion
The Socio-Religious Function of an Emotional Narrative (1250–1530)
This volume investigates the vivid and emotionally intense commemoration of the Passion of Christ as a key element in late medieval religious culture. Its goal is to shed light on how the Passion was communicated and on its socio-religious function in late medieval Europe. By adopting a multidisciplinary approach the volume analyses the different media involved in this cultural process (sermons devotional texts lively performances statues images) the multiple forms and languages in which the Passion was presented to the faithful and how they were expected to respond to it. Key questions concern the strategies used to present the Passion; the interaction between texts images and sounds in different media; the dissemination of theological ideas in the public space; the fashioning of an affective response in the audience; and the presence or absence of anti-Jewish commonplaces.
By exploring the interplay among a wide range of sources this volume highlights the pervasive role of the Passion in late medieval society and in the life of the people of the time.
Chanter par le Si en France au xvii e siècle
Pionniers et prémisses du solfège moderne
En 1666 la « Methode facile pour apprendre à chanter la musique » (Paris Ballard) est le premier ouvrage imprimé en France à recommander l'utilisation du Si. Cette septième syllabe de solmisation permet de s’affranchir du solfège ancien des hexacordes et des muances. La gamme du Si ou gamme française s'impose comme une nouvelle norme parallèlement à une actualisation du discours sur les échelles musicales prélude à l’énonciation des principes de la tonalité.
Pourtant depuis la fin du XVIe siècle des solmisations heptacordales essaiment ailleurs de l’Italie au Danemark. La France semble à rebours du reste de l’Europe : elle tarde à réagir à ce nouveau modèle et s’avère finalement être le seul pays où le Si est intégré durablement. Quel fut le cheminement de ces idées et pratiques ? Que disent-elles des représentations de l’espace sonore qui coexistent et s’anamorphosent au XVIIe siècle isthme entre Humanisme et Lumières ? Ces questions serpentent dans la littérature depuis que Brossard Montéclair ou Rousseau s’en sont emparés.
L’étude de sources essentiellement manuscrites permet aujourd’hui de préciser les jalons de cette histoire en France de mettre en lumière des pionniers autant que des détracteurs du Si. Leurs témoignages sont issus de l'entourage scientifique de Mersenne des sphères huguenotes et mauristes des chapelles musicales parisiennes et finalement des méthodes destinées aux amateurs. C’est en questionnant ces pionniers leurs écrits et les contextes dans lesquels ils ont évolué que ce pan de l’histoire du solfège est ici mis en perspective et d’une certaine manière humanisé.
The Munich Court Chapel at 500
Tradition, Devotion, Representation
This collection of essays is the first to focus exclusively on the Wittelsbach court of Duke Wilhelm IV of Bavaria (1493–1550). The contributors argue for a deeper understanding of this duke’s reign and acknowledge his crucial role in shaping the religious and cultural identity of the Duchy of Bavaria. By providing insights into the duke’s cultural aspirations the organisation of the court musical sources religious musical practice and everyday working life this book aims to: (1) situate the court of Wilhelm IV in the context of the religious and political upheavals of the early sixteenth century; (2) trace the development of the musical repertoire and personnel of the Bavarian court chapel between 1500 and 1550; and (3) critically assess the degree to which the Munich court could be considered ‘modern’ by re-evaluating the broader cultural religious and musical life of the court around 1520. The volume thus sheds light on the cultural ambitions of a duke who defined music and art as expressions of strategic elements that interwove tradition devotion and representation in a programme of governance based on humanist education—a duke whose foresight enabled the Munich court to quickly become one of the most prestigious and famous seats of power in the Holy Roman Empire.