Results 11 to 20 of about 3,234 (220)
“The Most Photographed Barn in America”: Simulacra of the Sublime in American Art and Photography [PDF]
In White Noise (1985) by Don DeLillo, two characters visit a famous barn, described as the “most photographed barn in America” alongside hordes of picture-taking tourists.
David Allen, Agata Handley
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Morality, Simulacrum and Distraction:
Jean-Jacques Rousseau was undoubtedly the first to investigate the ethical role of art in modern philosophical thought. However, his position was decidedly eccentric amidst the backdrop of the Enlightenment. According to Rousseau, Art was responsible for
João Gabriel Lima
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This chapter extrapolates Jean Baudrillard's notion of the simulacrum to re-examine the shifting nature of simulation as a museological paradigm. Revisiting the concept of the simulacrum specifically enables the reconceptualization of two distinct ...
Sarah Kenderdine, Lily Hibberd
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Copia y simulacro en el Sofista de Platón
Within the Sophist, Plato establishes a clear distinction between two types of mimetic art: the copy and the simulacrum. Such a distinction avoids reducing the image to the faithful reproduction of a sensitive model.
Carlos Másmela
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THE RECEPTION OF MARGINALITY IN POSTMODERN AESTHETICS: PATRICK SÜSKIND’S VISION [PDF]
The purpose of the article is to trace the fictional features of the reception of marginality through the prism of social communication of the main characters in Patrik Süskind`s texts “Der Kontrabass”, “Das Parfüm”, “Die Taube”, “Die Geschichte von ...
Nataliia A. Kovalova +1 more
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Purpose. The purpose of the study is to show the connection of romanticism with the anthropological doctrine that goes back to Hegelianism and Kantianism, and at the same time – with the concepts of the future, structuralism and postmodernism ...
T. N. Zhuzhgina-Allahverdian +1 more
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DUAL ESSENCE OF DESIGN: SIMULATION AND MYTHMAKING
Purpose: consider design as a dichotomy concepts eidos (idea, a myth) and the simulacrum.Methodology. The difference between eidos and simulacrum in design is explained by the opposition of these concepts from Gilles Deleuze.
Aleksandra Vladimirovna Pankratova
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The Neoplastic Room at the Muzeum Sztuki in Łódź was originally designed in 1948 by the avant-garde artist Władysław Strzemiński. Destroyed in 1950 and reconstructed in 1960, it became the focal point of the museum, with the ‘International Collection of Modern Art’ by the a.r. group being exhibited there.
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Introduction. The paper deals with the evolution of “fake-news” and “post-truth” in the digital society, which can be qualified as simulations of virtual space.
V. P. Miletskiy, O. A. Nikifоrova
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Hipergerçekçilik Perspektifinden Uygur Sanatının Simülasyon ve Simülakrlarla İnşa Edilen Dünyası
Baudrillard’ın simulark ve simülasyon kuramının sanata dönük izdüşümlerinin ve sanattaki hipregerçekçi pratiklerinin birey, tarih, din, sanat, coğrafya, uygarlık vb.
Yaşar Özrili
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