Space-Time Cubification of Artistic Shapes.

This poster describes an original approach to producing artistic shapes in a cubist style. We propose mathematical models and algorithms for adding cubist features to (or cubification of) time-variant sculptural shapes as well as a practical technological pipeline embracing all the main phases of their production. A novel method is proposed for faceting and local distortion of the given artistic shape. A new concept of a 4D cubist camera is introduced for multiple projections from 4D space-time to 3D space and combining them using space-time blending to create animated sculptures. The proposed techniques are implemented and experimental results are presented

4D Cubism: Modeling, Animation and Fabrication of Artistic Shapes

The paper describes an original approach to creating and producing artistic shapes in a cubist style. We propose mathematical models and algorithms for adding cubist features to (or cubification of) time-variant sculptural shapes as well as a practical technological pipeline embracing all the main phases of their production. A novel method is proposed for faceting and local distortion of the given artistic shape. A new concept of a 4D cubist camera is introduced for multiple projections from 4D space-time to 3D space and combining them using space-time blending to create animated sculptures. 3D printing for stop-motion animation is proposed as one of the final pipeline processing stages. The proposed techniques are implemented with artist friendly user interfaces and experimental results are presented

Cubification and animation of artistic shapes

This poster describes an original approach to creating static and dynamic sculptures in a cubist style. We propose a novel method for faceting and local distortion thus adding cubist features and generating time-variant sculptural shapes. We introduce the concept of a 4D cubist camera for blending multiple projections from 4D space-time to 3D space. We describe a practical pipeline embracing all the main phases of production of static and dynamic cubist shapes. The proposed techniques are implemented and experimental results are presented

Expressionism 'From' Latin America: Antecedents and New Historiographic Proposals : Expresionismo 'desde' América Latina: Antecedentes y nuevas propuestas historiográficas

Considering expressionism as a cultural phenomenon of international scope, we present the milestones in its historiographic approach in Latin America. The different stages of thought are reviewed, describing the proposals of some of its most significant representatives and emphasizing the conceptual changes in terms of the conception of temporal axes, the materiality of artistic discourses and their relationship with the spaces and cultural contexts in which they are produced. In particular, we identify the possibilities offered by conceptual proposals from the beginning of the twentieth century to the current notion of «simultaneous vanguards», which enables their productive activation in both modernity and postmodernity. This contribution seeks to make the Latin American contribution to transnational expressionism visible and to recover the productions that have been excluded from the debates, placing their protagonists in a scenario of international appreciation and recognition.Partiendo del expresionismo como un fenómeno cultural de alcance internacional, se presentan los hitos en su abordaje historiográfico en América Latina. Se recorren las distintas etapas del pensamiento, describiendo las propuestas de algunos de sus representantes más significativos y enfatizando los cambios conceptuales en términos de la concepción de los ejes temporales, la materialidad de los discursos artísticos y su relación con los espacios y contextos culturales en los que se producen. En particular, se identifican las posibilidades que brindan las propuestas conceptuales desde inicios del siglo veinte hasta llegar a la noción actual de «vanguardias simultáneas», que habilita su activación productiva tanto en la modernidad como en la postmodernidad. Mediante este aporte se busca visibilizar la contribución latinoamericana al expresionismo transnacional y recuperar las producciones que han quedado al margen de los debates, ubicando a sus protagonistas en un escenario de valoración y reconocimiento internacional

Cubism: Art and Philosophy

In this paper I argue that the development of cubism by Picasso and Braque at the beginning of the twentieth century can be illuminated by consideration of long-running philosophical debates concerning perceptual realism, in particular by Locke’s (1689) distinction between primary and secondary properties, and Kant’s (1781) empirical realism. Daniel-Henry Kahnweiler (1920), Picasso’s dealer and early authority on cubism, interpreted Picasso and Braque as Kantian in their approach. I reject his influential interpretation, but propose a more plausible, Kantian reading of cubism

Cubism and Kant

Daniel-Henry Kahnweiler (1920), Picasso’s dealer and early authority on cubism, interpreted Picasso, Braque and Gris as Kantian in their approach. In §1 I provide an introduction to cubism and to Kahnweiler’s use of Kantian terminology to distinguish analytic and synthetic cubism. §2 concerns the ‘idealist’ interpretation of cubism in which the works are seen as attempting to depict Kantian things-in-themselves. I argue that this interpretation betrays a misunderstanding of Kant and it is at odds with Picasso’s pluralism. In §3 I suggest an alternative Kantian interpretation of cubism, one that draws on Kant’s empirical realism and the cognitive input that is necessary for experience. In §4 this is contrasted with the two-aspect reading of transcendental idealism. Lastly, in §5, I acknowledge that the major cubists had limited or no knowledge of Kant, but nevertheless argue that it is illuminating to see their works in terms of Kantian realism

Analyticity and Systematicity in Anglophone Aesthetics

The scope of this project is threefold. Firstly, it is metaphilosophical, as it concerns a question of method. Secondly, it is aesthetical, as it concerns a question of method in aesthetics and the philosophy of art. Thirdly, it is historiographical, as it draws from the corpus of the philosophy of art, aesthetics and art history, and considers these texts not only by way of their ideas but also by way of their history. This dissertation entertains a significant organizational shift by adopting and adapting a narrower scope of anglophone aesthetics (AA). This shift renders AA as biphasic, admitting of earlier (EAA) and later (LAA) phases, the ‘early-late distinction’, categorized by exemplary texts per phase. Upon investigation of these texts, the EAA-LAA shift poses a constitutive methodological shift, the Problem of Systematic Inconsistency (PSI), from non-systematicity to systematicity. This inconsistency, it is argued, is merely apparent, and is explainable as a swapping of priority between analytic and systematic methods from EAA to LAA, which holds systematicity of some sort to be implicit in EAA. To elucidate this, various modes of analysis and models of system are presented. From a formalist outlook, an historiographical examination of cubism is used to concretize the proposed solution to the PSI. Of particular focus is the shift from analytic (AC) to synthetic (SC) cubism, wherein it is diagrammatically shown that cubist ‘signs’ played an implicit role throughout AC like that described of systematicity throughout EAA. Comparison between realist and idealist art yields a key distinction, the ‘unitary-plenary distinction’, between two definitions of system in terms of the presence or absence of a privileged ‘kernel’. That both EAA and LAA entertained a realist plenary rather than idealist unitary systematicity, implicit in the former and explicit in the latter, is the solution to the PSI

William Faulkner\u27s visual art : word and image in the early graphic work and the major fiction

The purpose of this study was to examine the relationship between visual and verbal modes of expression in Faulkner’ 5 art. Beginning with Faulk— ner’s early experiments in visual art, particularly his cartoons and illustrations executed for the college publications at Ole Miss, I show how Faulkner developed a visual grammar that informs all of his artistic productions. After foregrounding his compositional aesthetics, I discuss the interplay between the visual and the verbal in Faulkner’ 5 two illustrated books, The Marionette_ s and Mayday, as Faulkner is both writer and illustrator in these crucial apprenticeship works. In addition to these formative influences, I also examine how Faulkner’ 5 interest in modern art, especially the cubism of Braque and Picasso, provided him with distinct formal models that radically altered his aesthetic theory and practice of writing. Ultimately, Faulkner was able to transfer his visual talents into fictional structures. By focussing on specific pictorial techniques in a variety of novels, I show that Faulkner was able to create a unique fictional text that emphasizes interpretive and hermeneutical strategies of perception that seek to collapse the barriers between the visual and the verbal