Results for 'Wassily Kandinsky'

93 found
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  1.  6
    Hugo Balls Vortrag über Wassily Kandinsky in der Galerie Dada in Zürich am 7. 4..Andeheinz Mößer - 1977 - Deutsche Vierteljahrsschrift für Literaturwissenschaft Und Geistesgeschichte 51 (4):676-704.
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  2. La autonomía del arte: de Wassily Kandinsky a Frank Stella.Leopoldo La Rubia de Prado - 2013 - Estudios Filosóficos 62 (181):449-474.
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  3.  5
    Some Abstractions on Kandinsky [Review of an Exhibit of Wassily Kandinsky's Work at the Milwaukee Art Center, Milwaukee].Curtis Carter - unknown
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  4.  26
    Point and Line to Plane.Wassily Kandinsky - 1926 - Dover Publications.
    In this famous work by a pioneer in the movement to free art from the bonds of tradition—a work long considered essential to understanding the evolution of 20th-century art—Kandinsky explores the role of the line, point and other key elements of non-objective painting. 127 illustrations.
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  5.  59
    Vasily Kandinsky: Around the Circle.Ekin Erkan - 2022 - AEQAI.
    A review of the recent exhibition of Wassily Kandinsky's artworks at the Guggenheim Museum, with interest in Kandinsky's career-wide separation of form from content.
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  6.  8
    Secession.Wassily Kandinsky & Adrienne Kochman - 1997 - Critical Inquiry 23 (4):729-737.
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  7. Concerning the Spiritual in Art and Painting in Particular, 1912.Wassily Kandinsky, Michael Sadleir & Francis Golffing - 1964 - G. Wittenborn.
     
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  8.  17
    Kandinsky and Chernikhov.Rebecca Dalvesco - 2015 - American Journal of Semiotics 31 (3):397-416.
    The artist Wassily Kandinsky and the architect Jacob Chernikhov have similar theories and philosophies that they apply to the following elements in their work: point, line, plane, color, and form. They use these elements to create a systematic method of building complex symbols to form a new visual language. Kandinsky and Chernikov incorporated into their philosophies diagrammatic reasoning in order to build a logical program or scientific method for architecture and design. The philosopher Charles Sanders Peirce’s semiotic, (...)
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  9. Husserl-Kandinsky l'Eclissi Della Natura Nella Fenomenologia E Nella Pittura Del Primo Novecento.Giuseppe Saponaro & Edmund Husserl - 2001
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  10.  15
    The Aesthetic Experience of Kandinsky's Abstract Art: A Polemic with Henry's Phenomenological Analysis.Anna Ziółkowska-Juś - 2017 - Estetika: The European Journal of Aesthetics 54 (2):212-237.
    The French phenomenologist Michel Henry sees a similarity between the primordial experience of what he calls ‘Life’ and the aesthetic experience occasioned by Wassily Kandinsky’s abstract art. The triple aim of this essay is to explain and assess how Henry interprets Kandinsky’s abstract art and theory; what the consequences of his interpretation mean for the theory of the experience of abstract art; and what doubts and questions emerge from Henry’s interpretations of Kandinsky’s theory and practice. Despite (...)
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  11.  3
    Concerning the Spiritual—and the Concrete—in Kandinsky’s Art.Lisa Florman - 2014 - Stanford University Press.
    This book examines the art and writings of Wassily Kandinsky, who is widely regarded as one of the first artists to produce non-representational paintings. Crucial to an understanding of Kandinsky's intentions is _On the Spiritual in Art_, the celebrated essay he published in 1911. Where most scholars have taken its repeated references to "spirit" as signaling quasi-religious or mystical concerns, Florman argues instead that Kandinsky's primary frame of reference was G.W.F. Hegel's _Aesthetics_, in which art had (...)
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  12.  3
    Sobre el riesgo de confundir el lenguaje cósmico de Kandinsky con el lenguaje divino del obispo Berkeley.José María Ariso - 2013 - Agora 32 (1).
    Según Philippe Sers, Wassily Kandinsky y George Berkeley coincidieron al contemplar el mundo como un lenguaje que nos habla de lo espiritual que hay en el fondo del alma humana. Sin embargo, en el presente artículo me propongo mostrar que esta afirmación de Sers es confusa e incluso equívoca. Concretamente, mostraré que la visión del mundo como lenguaje tiene cabida en la concepción del lenguaje divino de Berkeley pero no en la noción que Kandinsky tenía del lenguaje (...)
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  13.  68
    Modernist Creativity and the Construction of Reality in Einstein and Kandinsky.Charles P. Webel - 2007 - World Futures 63 (7):526 – 557.
    In this article, I limn the remarkable ascent of Albert Einstein and Wassily Kandinsky into our cultural pantheon. I depict how both figures mastered and transcended their respective fields, and how they called into question long-established disciplinary assumptions and practices. I also demonstrate how the creative works of Einstein and Kandinsky constructed, and were constructed by, the reality we now call "modern.".
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  14.  4
    The Artistic Brain, the Navajo Concept of Hozho, and Kandinsky’s “Inner Necessity”.Charles D. Laughlin - 2004 - International Journal of Transpersonal Studies 23 (1):1-20.
    Most traditional art forms around the planet are an expression of the spiritual dimension of a culture’s cosmology and the spiritual experiences of individuals. Religious art and iconography often reveal the hidden aspects of spirit as glimpsed through the filter of cultural significance. Moreover, traditional art, although often highly abstract, may actually describe sensory experiences derived in alternative states of consciousness . This article analyzes the often fuzzy concepts of “art” and “spirit” and then operationalizes them in a way that (...)
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  15.  2
    Art as Spiritual Activity: Rudolf Steiner's Contribution to the Visual Arts.Rudolf Steiner - 1997 - SteinerBooks.
    This book introduces a new way for thinking about, creating, and viewing art. Rudolf Steiner saw his task as the renewal of the lost unity of science, the arts, and religion; thus, he created a new, cognitive scientific and religious art in anthroposophy. The implications of his act --recognized by such diverse artists as Wassily Kandinsky and Joseph Beuys --are only now coming fully to light. In his thorough introduction of more than a hundred pages, Michael Howard takes (...)
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  16. The Philosophy of Lines: From Art Nouveau to Cyberspace.Thorsten Botz-Bornstein - 2021 - Springer Verlag.
    This book offers a philosophical exploration of lines in art and culture, and traces their history from Antiquity onwards. Lines can be physical phenomena, cognitive responses to observed processes, or both at the same time. Based on this assumption, the book describes the “philosophy of lines” in art, architecture, and science. The book compares Western and Eastern traditions. It examines lines in the works of Paul Klee, Wassily Kandinsky, and Henri Michaux, as well as in Chinese and Japanese (...)
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  17. Knowledge of Art Vs. Artistic Knowledge. II. The GAKhN “Encyclopedia of Artistic Terminology”.Nikolaj Plotnikov - forthcoming - Studies in East European Thought.
    In this second article, I look at the history of the creation of the “Encyclopedia of Artistic Terminology” within the State Academy of the Artistic Sciences. I analyze various versions of the encyclopedia’s conception proposed by Wassily Kandinsky and Gustav Shpet and also at the theoretical bases for these conceptions. I then show how the work on the Encyclopedia was connected with the institutional transformations in the Academy. A key factor in the work on the Encyclopedia was the (...)
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  18.  49
    Sensations Spill a Deluge Over the Figure.Lorna Collins - 2008 - Deleuze and Guatarri Studies 2 (1):49-73.
    This paper utilises Deleuze's Logic of Sensation to critique the concept ‘Figure’ that he raises to formulate this theory in his monograph of Francis Bacon. Deleuze engages with Bacon's paintings to demonstrate how sensations from Figural artworks rupture through representation and disrupt binary logic. However, in his argument Deleuze seems to use the same kind of thinking that he intends the Figure to disrupt, since he prioritises and secludes art deemed Figural over and above abstraction. Such problematic categorisation is challenged (...)
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  19. The Annual of Psychoanalysis, V. 31: Psychoanalysis and History.Jerome A. Winer & James W. Anderson (eds.) - 2003 - Routledge.
    In 1958 William L. Langer, in a well-known presidential address to the American Historical Association, declared the informed use of psychoanalytic depth psychology as "the next assignment" for professional historians. _Psychoanalysis and History_, volume 31 of _The Annual of Psychoanalysis_, examines the degree to which Langer's directive has been realized in the intervening 45 years. Section I makes the case for psychobiography in the lives of historical figures and exemplifies this perspective with analytically informed studies of the art of (...) Kandinsky; the films of Stanley Kubrick; and the anti-Semitism of Adolf Hitler. Section II reviews Freud's own psychohistorical contributions and then considers the relevance to historical inquiry of the more recent perspectives of Winnicott, Kernberg, and Kohut. Section III explores an intriguing tributary of psychobiographical inquiry: the impact of the biographer's own subjectivity on his or her work. Section IV turns to a topic of perennial interest: the psychobiographical study of American presidents. Section V turns to the special challenges of applying psychoanalysis to topics of religious history and includes topical studies of religious figures as disparate as the 15th century Asian Drukpa Kunley and Osama bin Laden. Section VI focuses on the recent extension of psychohistorical inquiry to groups of people and to cultural phenomena more generally: an investigation of the youth movement in pre-Nazi Germany; consideration of how societies, no less than individuals, reenact and work through traumas over time; and an outline of the role of analysis in constructing a depth-psychological "social psychology" of use to historians. These papers, no less than those that precede them, are compelling testimony to the claim with which editors James William Anderson and Jerome A. Winer begin the volume, to wit, that "Psychoanalysis would seem to be a resource indispensable to the study of history.". (shrink)
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  20. The Painting "Confessions" of Nikolay Raynov.Yvanka B. Raynova - 2019 - Labyrinth: An International Journal for Philosophy, Value Theory and Sociocultural Hermeneutics 20 (2):201.
    The aim of the following paper is to show that it is not possible to penetrate into the depths of Nikolay Raynov's universe and to comprehend its wholeness, without posing and investigating the question about the origin or the foundation of his various creative occupations, i.e his novels, philosophic and theosophic writings, art history and critique, paintings, decorative design etc. This question is far too complex to be answered briefly without being simplified, and therefore two main directions will be articulated: (...)
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  21.  18
    Social Moral Licensing.Wassili Lasarov & Stefan Hoffmann - 2020 - Journal of Business Ethics 165 (1):45-66.
    Moral licensing theory posits that individuals who initially behave morally may later display behaviors that are immoral, unethical, or otherwise problematic. While previous literature mainly focused on individual moral licensing, the influences from the social environment have barely been investigated. To address this issue, the present paper develops a conceptual framework of social moral licensing and outlines two main avenues for future research via six propositions. The first avenue entitled “the conspicuousness of moral licensing” considers moral licensing that comes into (...)
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  22. Input-Output Economics.Wassily Leontief - 1967 - Science and Society 31 (2):202-221.
    This collection of writings provides the only comprehensive introduction to the input-output model for which Leontief was awarded the Nobel Prize in 1973. The structural approach to economics developed by Leontief, and known as input-output analysis, paved the way for the transformation of economics into a truly empirical discipline that could utilize modern data processing technology. This thoroughly revised second edition includes twenty essays--twelve of which are new to this edition--that reflect the past developments and the present state of the (...)
     
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  23.  1
    Input-Output Economics.Wassily Leontief (ed.) - 1986 - Oxford University Press USA.
    This collection of writings provides the only comprehensive introduction to the input-output model for which Leontief was awarded the Nobel Prize in 1973. The structural approach to economics developed by Leontief, and known as input-output analysis, paved the way for the transformation of economics into a truly empirical discipline that could utilize modern data processing technology. This thoroughly revised second edition includes twenty essays--twelve of which are new to this edition--that reflect the past developments and the present state of the (...)
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  24.  37
    Kandinsky, Kant, and a Modern Mandala.Kenneth Berry - 2008 - Journal of Aesthetic Education 42 (4):pp. 105-110.
  25.  77
    Kandinsky's Theory of Painting.Vincent Tomas - 1969 - British Journal of Aesthetics 9 (1):19-38.
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  26.  17
    Kandinsky's Composition VI: Heideggerian Poetry in Noah's Ark. Hall - 2012 - Journal of Aesthetic Education 46 (2):74-88.
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  27.  28
    Ethical Products = Less Strong: How Explicit and Implicit Reliance on the Lay Theory Affects Consumption Behaviors.Arne Buhs, Wassili Lasarov, Stefan Hoffmann & Robert Mai - 2019 - Journal of Business Ethics 158 (3):659-677.
    Many consumers implicitly associate sustainability with lower product strength. This so-called ethical = less strong intuition poses a major threat for the success of sustainable products. This article explores this pervasive lay theory and examines whether it is a key barrier for sustainable consumption patterns. Even more importantly, little is known about the underlying mechanisms that might operate differently at the implicit and explicit levels of the consumer’s decision-making. To fill this gap, three studies examine how the implicit judgments that (...)
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  28. Vasily Kandinsky and His Idea of Ultimate Reality.Jerome Ashmore - 1979 - Ultimate Reality and Meaning 2 (3):228-256.
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  29. Kandinsky and Ashmore: A Comment.F. David Martin - 1979 - Ultimate Reality and Meaning 2 (3):257.
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  30. Kandinsky and Klee: Chromatic Chords, Polyphonic Painting and Synesthesia.A. Ione - 2004 - In Anthony I. Jack (ed.), Journal of Consciousness Studies. Thorverton Uk: Imprint Academic. pp. 11--3.
     
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  31.  37
    Note on the Pluralistic Interpretation of History and the Problem of Interdisciplinary Cooperation.Wassily Leontief - 1948 - Journal of Philosophy 45 (23):617-624.
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  32.  11
    Metamorphoses of the Subject: Kandinsky Interpreted by Michel Henry and Henri Maldiney.Anna Yampolskaya - 2018 - Avant: Trends in Interdisciplinary Studies 9 (2):157-167.
    In this paper I compare how Michel Henry and Henri Maldiney interpret Kandinsky’s heritage. Henry’s phenomenology is based on a distinction between two main modes of manifestation: the ordinary one, that is, the manifestation of the world, and the “manifestation of life.” For him, Kandinsky’s work provides a paradigmatic example of the second, more original mode of manifestation, which is free from all forms of self-alienation. Henry claims that this living through the work of art is transformative; it (...)
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  33.  6
    Klee, Kandinsky, and the Thought of Their Time: A Critical Perspective. [REVIEW]John Adkins Richardson - 1996 - Journal of Aesthetic Education 30 (3):119.
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  34.  8
    Klee, Kandinsky, and the Thought of Their Time.Mark Roskill - 1993 - Journal of Aesthetics and Art Criticism 51 (3):517-518.
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  35. Kandinsky eo espírito. Tempo, liberdade e vida na concepçao Kandinskyana da" Vibraçao interior".José Miranda Justo - 2010 - Philosophica -- Revista Do Departamento de Filosofia da Faculdade de Letras de Lisboa 36:67-84.
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  36.  2
    Vanishing Boycott Impetus: Why and How Consumer Participation in a Boycott Decreases Over Time.Wassili Lasarov, Stefan Hoffmann & Ulrich Orth - forthcoming - Journal of Business Ethics:1-26.
    Media reports that a company behaves in a socially nonresponsible manner frequently result in consumer participation in a boycott. As time goes by, however, the number of consumers participating in the boycott starts dwindling. Yet, little is known on why individual participation in a boycott declines and what type of consumer is more likely to stop boycotting earlier rather than later. Integrating research on drivers of individual boycott participation with multi-stage models and the hot/cool cognition system, suggests a “heat-up” phase (...)
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  37. "Kandinsky": Rose-Carol Washton Long. [REVIEW]Richard Woodfield - 1981 - British Journal of Aesthetics 21 (4):380.
     
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  38.  1
    Kandinsky at the Milwaukee Art Museum.Curtis Carter - unknown
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  39. Moral-Psychological Mechanisms of Rebound Effects From a Consumer-Centered Perspective: A Conceptualization and Research Directions.Hanna Reimers, Wassili Lasarov & Stefan Hoffmann - 2022 - Frontiers in Psychology 13.
    Rebound effects on the consumer level occur when consumers’ realized greenhouse gas emission savings caused by behaviors that might be beneficial to the environment are lower than their potential greenhouse gas emission savings because the savings are offset by behavioral adjustments. While previous literature mainly studied the economic mechanisms of such rebound effects, research has largely neglected the moral-psychological mechanisms. A comprehensive conceptualization of rebound effects on the consumer level can help fill this void and stimulate more empirical research in (...)
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  40. La estética de Kandinsky y el gnosticismo.David Alfonso Solís Nova & Valeria Burgos Ortiz - 2022 - Franciscanum 64 (178).
    El presente artículo es un estudio teórico sobre las similitudes entre las doctrinas gnósticas, que florecieron alrededor del siglo ii de nuestra era, y el pensamiento estético del pintor ruso Vasili Kandinsky. El objetivo es analizar estos dos marcos de ideas filosóficas y espirituales para exponer sus similitudes y diferencias. De esta manera, se indagará si, pese a los siglos que las separan y la diferencia de contextos históricos que las rodean, pueden existir en los orígenes de ambas propuestas (...)
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  41.  21
    Kandinsky and the Science of Art.Alberto Wirth - 1979 - British Journal of Aesthetics 19 (4):361-365.
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  42.  22
    Validation by Touch in Kandinsky's Early Abstract Art.Margaret Olin - 1989 - Critical Inquiry 16 (1):144-172.
    Some recent artists and critics have taken it upon themselves to demystify the notion of stylistic unity. Their task has included the historical reconception of a few “modernist” artists along “postmodern” lines, usually as precursors of current semiotic strategies.11 These artists may have used a set of incompatible styles to expose the artificiality of competing stylistic conventions, or even to challenge the myth that celebrates the authenticity of artistic expressiveness. Pablo Picasso and Marcel Duchamp, otherwise very different artists, have both (...)
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  43. Zweite, A., , Kandinsky und München. Begegnungen und Wandlungen 1896-1914. [REVIEW]G. Fuller - 1983 - Tijdschrift Voor Filosofie 45:662.
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  44.  20
    Kandinsky Symbolgestalt wofür und für wen eigentlich?Friedrich Wilhelm Kantzenbach - 1995 - Zeitschrift für Religions- Und Geistesgeschichte 47 (4):338-356.
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  45.  5
    Kandinskis Bauhause – Orientalististiniai Ir Neklasikiniai Jo Spalvos Teorijos Aspektai.Deima Katinaitė - 2016 - Logos: A Journal, of Religion, Philosophy Comparative Cultural Studies and Art 89:207-212.
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  46. Mark Roskill, Klee, Kandinsky, and The Thought of Their Time.Lucian Krukowski - 1993 - Journal of Aesthetics and Art Criticism 51 (3):517-517.
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  47.  32
    Modern Physics, Kandinsky, and Klee.Robert McTague - 1997 - The European Legacy 2 (1):68-73.
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  48.  64
    Sound in Kandinsky's Painting.Jerome Ashmore - 1977 - Journal of Aesthetics and Art Criticism 35 (3):329-336.
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  49.  5
    The Ecology of Kandinsky's Abstraction: A Trembling World of Beings and Things.Isabel Sobral Campos - 2018 - Symploke 26 (1-2):237.
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  50.  10
    Klee and Kandinsky Polyphonic Painting, Chromatic Chords and Synaesthesia.Amy Ione - 2004 - Journal of Consciousness Studies 11 (3-4):148-158.
    As an artist I admittedly scrutinize all of the theories related to the arts closely. I do this for a number of reasons. The obvious one is that I have a deeply felt personal relationship with the subject matter. Less obvious is my experience in general. My early research was motivated by a desire to discover the historical circumstances that led to the difficulty in fitting visual art into the discussions I encountered. Generally, it seemed that the dominant framework trivialized (...)
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