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In this way, art itself becomes analytical and self-aware. The subjective frame comprises mainly feelings and emotions expressed, and of audience response or interpretation. The structural frame refers to physical techniques and principles applied to the artwork, such as mediums , overall structure, facture [ 2 ] and the use of symbols.
Initially created in an attempt to understand processes of innovation and knowledge-creation in science and technology, the approach drew on existing work in STS, on studies of large technological systems, and on a range of French intellectual resources including the semiotics of Algirdas Julien Greimas, the writing of philosopher Michel Serres ...
These internalized relationships and habitual expectations and relationships form, over time, the habitus. Bourdieu's work attempts to reconcile structure and agency, as external structures are internalized into the habitus while the actions of the agent externalize interactions between actors into the social relationships in the field ...
Relational art or relational aesthetics is a mode or tendency in fine art practice originally observed and highlighted by French art critic Nicolas Bourriaud.Bourriaud defined the approach as "a set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space."
Carter was the longest living former commander-in-chief in U.S. history, and his relationships with several of his successors put him in a unique position as a role model for post-presidency life.
Assemblage (from French: agencement, "a collection of things which have been gathered together or assembled") is a philosophical approach for studying the ontological diversity of agency, which means redistributing the capacity to act from an individual to a socio-material network of people, things, and narratives.
Historical theories of art hold that for something to be art, it must bear some relation to existing works of art. [8] For new works to be art, they must be similar or relate to previously established artworks. Such a definition raises the question of where this inherited status originated.
As manufacturers made bicycles cheaper and safer, women across racial, ethnic, socio-economic, and geographic lines were able to transport themselves to new work opportunities, participate in ...