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Choreographing Kandinsky’s ‘Spiritual’ in Sergei Diaghilev’s Ballets Russes

Relevance of the Beauty and other Essays, trans., by Nicholas Walker, ed. by Robert Bernasconi, Cambridge University Press, Cambridge, 1986 (2) (1977). Die Aktualität des Schönes: Kunst als Spiel, Symbol und Fest, Philipp Reclam, Stuttgart, 1977. Kandinsky, Wassily, Point and Line to Plane . Contribution to the Analysis of the Pictorial Elements . 1 st ed. in German 1926, München, preface, by Hilla Rebay and trans., by Horward Dearstyne, Solomon R. Guggenheim Museum, New York, 1947. Kandinsky, Wassily, (1) Ü ber das Geistige in der Kunst: Insbesondere in

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The Intertheoricity: Plasticity, Elasticity and Hybridity of Theories

des aspects, des modes and des temps followed by L'architectonique du temps dans les langues classiques, Paris, Honoré Champion, 1984. Kandinsky, Vassily, Du spiritual dans l'art, and dans la peinture en particulier, Denoël- Gonthier, 1969, 1979, 1989 ; Gallimard, coll. « Folio Essais », 1989. Lévi-Strauss, Claude, Anthropologie Structurale T.2, Paris, Pocket, 2003. Lévi-Strauss, Claude, Anthropologie Structurale T.1, Paris, Pocket, 2003. Medvedkova, Olga, Kandinsky, le peintre de l’invisible, Paris

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The Problem of Form in Objects under Redevelopment (On the Basis of Bytom Market Square Redevelopment Design) / Problem Formy W Obiektach Przebudowywanych (Na Przykładzie Projektu Realizacyjnego Przebudowy Bytomskiego Rynku)

Śląskiej, Gliwice 2014. 8. Kandinsky W. Punkt i linia a płaszczyzna- przyczynek do analizy elementów malarskich /Point and Line to Plane: Contribution to the Analysis of the Pictorial Elements/, Warszawa PWN 1986. 9. Dietrich J.: System i konstrukcja /System and Construction/ Wydawnictwo naukowo techniczne. Warszawa 1978.

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Thinking Like a Carpet: Embodied Perception and Individuation in Algorithmic Media

Kepler. University of Chicago. Marks, Laura U. 2010. Enfoldment and Infinity: An Islamic Genealogy of New Media Art. Cambridge. MA: MIT Press. Morgan, David. 1996. The Idea of Abstraction in German Theories of the Ornament from Kant to Kandinsky. Journal of the History of Ideas vol. 57 no. 2: 317-341. Peirce, Charles Sanders. 1935. Man’s Glassy Essence. In Collected Papers 6, eds. Charles Hartshorne and Paul Weiss, 155-175. Cambridge, MA: Harvard University Press. Perniola, Mario. 1995. Secrets, Folds, and

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American Art Criticism between the Cultural and the Ideological (II)

from The Nation 1865-2001. Ed. Peter G. Meyer. New York: Nation Books, 2001. 212-214. Print. Greenberg, Clement. “Kandinsky, Mondrian, and Pollock.” Brushes with History. Writing on Art from The Nation 1865-2001. Ed. Peter G. Meyer. New York: Nation Books, 2001. 210-212. Print. Greenberg, Clement. “New York Boogie Woogie.” Brushes with History. Writing on Art from The Nation 1865-2001. Ed. Peter G. Meyer. New York: Nation Books, 2001. 201-202. Print. Greenberg, Clement. “Towards a Newer Laocoon.” Clement Greenberg: The

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German Expressionism in Context: the First World War and the European Avant-Garde

Modernity: The Great War and the New Man ]. Paris: Aubier. Goebel, Stefan. 2007. Exhibitions. In Capital Cities at War: Paris, London, Berlin 1914–1919 . A Cultural History , vol. 2, eds. J. Winter and J.-L. Robert, 143–187. Cambridge: Cambridge University Press. Jelavich, Peter. 1999. German culture in the Great War. In European Culture in the Great War: The Arts, Entertainment and Propaganda , eds. A. Roshwald and R. Stites, 33–57. Cambridge: Cambridge University Press. Kandinsky, Wassily and Franz Marc, eds. 1979. The Blaue Reiter Almanac . New

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Plerosis and Atomic Gestalts

. Imbriano, V. (1868). La quinta promotrice 1878-1868: Appendici di Vittorio Imbriani . Napoli, Italy: Tipografia Napolitana. Jacobs, T. S. (1986). Light for the Artist . NewYork, NY: Watson-Guptill. Kandinsky, W. (1926). In W. Gropius & L. Moholy-Nagy (Eds.), Punkt und Linie zu Fläche. Bauhaus Bücher, Schriftleitung München, Germany: Verlag Albert Langen. Kanizsa, G. (1980). Grammatica del vedere. Saggi su percezione e Gestalt . Bologna, Italy: IL Mulino. Koenderink, J. J. (1984). The structure of images. Biological Cybernetics, 50 , 363

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Cognitive Poetry: Theoretical Framework for the Application of Cognitive Psychology Techniques to Poetic Text

). Neurocognitive mechanisms of synesthesia. Neuron, 48 , 509-520. Hudson, W. (1960). Pictorial depth perception in sub-cultural groups in Africa. Journal of Social Psychology, 52 , 183-208. Ione, A., & Tyler, C. (2003). Neurohistory and the arts: Was Kandinsky a synesthete? Journal of the History of Neuroscience, 12 , 223-226. Jonsson, C. (2005). Code-switching in Chicano Theater . Umeå, Sweden: Umeå University Press. Kasof, J. (1997). Creativity and breadth of attention. Creativity Research Journal, 10 , 303-315. Kharkhurin, A. V. (2007). The

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Die „Inszenierung“ regionaler Teilräume – ein Beitrag zur Bildung einer Region?
Hintergründe, Erscheinungsformen, Konsequenzen für die räumliche Planung

nicht reibungslos vonstatten - insbesondere der Balanceakt zwischen der heterogenen Struktur einer Region und dem Wunsch nach eingängigen Entwurfsideen mündet oft in entfernt an Kandinskys Radierungen erinnernde Vignetten, aus denen sich weder die individuelle Beschaffenheit der beplanten Region noch eine dominante Entwurfsidee ablesen lässt. Vgl. z.B. die „Landschaftsparks”, Wolfrum, Sophie u.a.: Landschaftspark Mittlerer Neckar, a.a.O. Wolfrum, Sophie u.a.: Landschaftspark Mittlerer Neckar. Region Stuttgart, im Auftrag des Regionalverbandes Stuttgart 1994 [siehe

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