1,020 research outputs found
Angelina Muñiz-Huberman
No full textAngelina Muñiz-Huberman. Photo Copyright Alberto Huberman. INTI No. 93-94, Primavera-Otoño 2021, p. 46.https://digitalcommons.providence.edu/inti_gallery/1449/thumbnail.jp
Henri Temianka Correspondence; (huberman)
No full textThis collection contains material pertaining to the life, career, and activities of Henri Temianka, violin virtuoso, conductor, music teacher, and author. Materials include correspondence, concert programs and flyers, music scores, photographs, and books.https://digitalcommons.chapman.edu/temianka_correspondence/3628/thumbnail.jp
Henri Temianka Correspondence; (huberman)
No full textThis collection contains material pertaining to the life, career, and activities of Henri Temianka, violin virtuoso, conductor, music teacher, and author. Materials include correspondence, concert programs and flyers, music scores, photographs, and books.https://digitalcommons.chapman.edu/temianka_correspondence/3631/thumbnail.jp
Didi-Huberman and art history's amicable incursions
No full textThis paper takes as its departure point French philosopher and art historian Georges Didi-Huberman’s recent text Aperçues (2018). Clearly forsaking art-historical literary conventions, Aperçues is composed completely of fragments. Dated, but not organised chronologically, Didi-Huberman is drawing on a long literary history of essayistic writing that reaches back to Michel de Montaigne. With this history of experimental forms of writing in mind, this essay will argue that Didi-Huberman’s decision to write in fragmentary form signals a broader shift in art-historical writing: the turn to the ‘I’, or loosely demarcated autobiographical practices. This is not, however, a simplistic or uncomplicated return to the humanist subject. Instead, drawing from Roland Barthes’ 1971 exhumation of the author in Sade, Fourier, Loyola, the author is amicable. To be amicable is to demonstrate goodwill and a sense of intimacy with the reader. It also suggests the traditional neutral and rational subject is bracketed in favor of a friendly conviviality. Examining recent forms of art writing by Michael Ann Holly, T.J. Clark, and Didi-Huberman, this essay discusses the notion of the amical author as a possible trope for experimental art writing practices, where the subject returns, albeit in a fragmented and split condition.Full Tex
O boneco de Alberto Cavalcanti
No full textDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Literatura, Florianópolis, 2013.Em 1945, no filme Dead of night, Alberto Cavalcanti propõe o conceito de boneco. O boneco estabelece uma relação polar com seu mestre, ventríloquo, na qual ocorre uma gradual inversão de papéis. O conceito, proposto em imagens, é um paradigma a ser justaposto aos demais filmes do cineasta balizando a busca de uma poética. Um filme é uma articulação de partes, de movimentos que caracterizam uma montagem, que fazem uma ideia ganhar vida. Nas montagens de Cavalcanti predomina uma imagem-percepção que transita entre dois polos: a percepção num estado líquido, de um universo de imagens que interagem em todas as suas partes e em todas as suas faces, e um estado sólido da percepção, em que as imagens orbitam em torno de uma imagem especial, aglutinadora, de um centro de indeterminação.Abstract : In 1945, in the film Dead of night, Alberto Cavalcanti proposes the concept of the puppet (dummy). The puppet establishes a polar relationship with its master, the ventriloquist, in which a gradual inversion of roles takes place. The concept, proposed in images, is a paradigm to be juxtaposed with the filmmaker's other films, beaconing the search for his poetic. One film is an articulation of its parts, movements that characterise the montage, which make an idea come to life. In Cavalcanti's montage, predominates an image-perception that transits between two poles: the perception in the liquid form, in an universe of images that interact in all its parts and in all its facets, and the perception in the solid form, in which the images orbit around one special agglutinating image, a center of indetermination
Images in Georges Didi-Huberman
No full textEsta pesquisa analisa a recepção na obra de Georges Didi-Huberman de aspectos de Sigmund Freud (1856-1939), Walter Benjamin (1892-1940) e Aby Warburg (1866- 1929). Observando a abordagem heterodoxa de Didi-Huberman sobre algumas noções centrais de cada um destes autores, como as noções de sintoma, imagem dialética, aura e montagem, bem como certas relações entre eles estabelecidas por Didi-Huberman, buscamos compreender a articulação teórica do autor em sua análise de imagens e prática curatorial. Nesse sentido, esta pesquisa percorre algumas de suas análises de obras de arte e imagens, desde os anos de 1990, verificando a existência de dois momentos em sua trajetória intelectual, sendo o primeiro de maior ênfase à crítica à epistemologia da história da arte, e o segundo, a partir da publicação do livro Images Malgré Tout, em 2003, à política. No último capítulo, propõe-se uma leitura sobre a relação entre sua produção teórica e prática curatorial, a partir de sua exposição Soulèvements, realizada entre 2016 e 2018.This research analyzes the reception of aspects of Sigmund Freud (1856-1939), Walter Benjamin (1892-1940) and Aby Warburg (1866-1929) in the work of Georges Didi- Huberman. Observing Didi-Huberman\'s heterodox approach to some central notions of each of these authors, such as the notions of symptom, dialectical image, aura and montage, as well as certain relations between them developed by Didi-Huberman, we aim to understand the author\'s theoretical articulation in his analysis of images and curatorial practice. In this sense, this research covers some of his analyzes of works of art and images, since the 1990s, verifying the existence of two moments in his intellectual trajectory, the first with greater emphasis on the criticism of the epistemology of art history, and the second, dated from the publication of the book Images Malgré Tout, in 2003, to politics. In the last chapter, we analyze the relationship between his theoretical production and curatorial practice, based on his exhibition Soulèvements, held between 2016 and 2018
Le Cube et le visage. Autour d'une sculpture d'Alberto Giacometti.
No full textLe Cube et le visage. Autour d'une sculpture d'Alberto Giacometti, Paris, Editions Macula, 1993.Alberto Giacometti’s 1934 Cube stands apart for many as atypical of the Swiss artist, the only abstract sculptural work in a wide oeuvre that otherwise had as its objective the exploration of reality. With The Cube and the Face, renowned French art historian and philosopher Georges Didi-Huberman has conducted a careful analysis of Cube, consulting the artist’s sketches, etchings, texts, and other sculptural works in the years just before and after Cube was created. Cube, he finds, is indeed exceptional—a work without clear stylistic kinship to the works that came before or after it. At the same time, Didi-Huberman shows, Cube marks the transition between the artist’s surrealist and realist phases and contains many elements of Giacometti’s aesthetic consciousness, including his interest in dimensionality, the relation of the body to geometry, and the portrait—or what Didi-Huberman terms “abstract anthropomorphism.” Drawing on Freud, Bataille, Leiris, and others Giacometti counted as influence, Didi-Huberman presents fans and collectors of Giacometti’s art with a new approach to transitional work
sj-zip-2-evb-10.1177_11769343221130730 – Supplemental material for Bioinformatics-based Characterization of the Sequence Variability of Zika Virus Polyprotein and Envelope Protein (E)
No full textSupplemental material, sj-zip-2-evb-10.1177_11769343221130730 for Bioinformatics-based Characterization of the Sequence Variability of Zika Virus Polyprotein and Envelope Protein (E) by Carlos Polanco, Vladimir N Uversky, Alberto Huberman, Gilberto Vargas-Alarcón, Jorge Alberto Castañón González, Thomas Buhse, Enrique Hernández Lemus, Martha Rios Castro, Erika Jeannette López Oliva and Sergio Enrique Solís Nájera in Evolutionary Bioinformatics</p
sj-zip-1-evb-10.1177_11769343221130730 – Supplemental material for Bioinformatics-based Characterization of the Sequence Variability of Zika Virus Polyprotein and Envelope Protein (E)
No full textSupplemental material, sj-zip-1-evb-10.1177_11769343221130730 for Bioinformatics-based Characterization of the Sequence Variability of Zika Virus Polyprotein and Envelope Protein (E) by Carlos Polanco, Vladimir N Uversky, Alberto Huberman, Gilberto Vargas-Alarcón, Jorge Alberto Castañón González, Thomas Buhse, Enrique Hernández Lemus, Martha Rios Castro, Erika Jeannette López Oliva and Sergio Enrique Solís Nájera in Evolutionary Bioinformatics</p
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