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    Wyświetlanie 1-2 z 2
    Tytuł:
    Arts, crafts and industrial design in Silesia in the first globalization and their non-obvious genres, media and practices
    Autorzy:
    Stanicka-Brzezicka, Ksenia
    Powiązania:
    https://bibliotekanauki.pl/articles/2195475.pdf
    Data publikacji:
    2022
    Wydawca:
    Uniwersytet Wrocławski. Wydział Nauk Historycznych i Pedagogicznych. Instytut Historyczny
    Tematy:
    craftsmanship
    arts and crafts
    industrial design
    Silesia
    Modernity
    Opis:
    This paper aims to outline the processes of formation of industrial design on a concrete example of the art and industrial landscape of Silesia, with particular regard to the role played by non-obvious genres, media and practices. It is about processes of developing of instances of pluralism and areas of “non-obviousness” at the interface of artistic, economic and social aspects, i.e. areas and phenomena that overlapped or were only vaguely defined, in the late 19th and turn of the 20th century. It is reflected as a result of many developments that began during the industrial revolution and are still affecting the world today, politically, economically, socially and culturally.
    Źródło:
    Śląski Kwartalnik Historyczny Sobótka; 2022, 77, 4; 77-99
    0037-7511
    2658-2082
    Pojawia się w:
    Śląski Kwartalnik Historyczny Sobótka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Design jako próba przywrócenia kanonu? Pojęcia, metody i dyskursy a niemieckie i śląskie wzornictwo pierwszej połowy XX wieku
    DESIGN AS AN ATTEMPT TO BRING THE CANON BACK? NOTIONS, METHODS AND DISCOURSES IN THE LIGHT OF GERMAN AND SILESIAN DESIGN OF THE 1ST HALF OF THE 20TH CENTURY
    Autorzy:
    Stanicka-Brzezicka, Ksenia
    Powiązania:
    https://bibliotekanauki.pl/articles/2135556.pdf
    Data publikacji:
    2021-12-15
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    design
    crafts
    Silesia
    Modernism
    Canon
    Opis:
    In the article, the concept of canon is related to the process that has been defined as the transition from applied art to design. The thesis is then put forward that this processcan be seen as the canonisation of products intended for mass production. The above statement suggests that a (qualitative?) change has taken place between designing and producing artistic and also utilitarian objects and the phenomenon called design. However, an answer to this problem first requires a clarification of terms. If we understand design and production historically in the context of the transition from handicraft to machine production, i.e. within the narrative socio-economic history, and if we place design in the ontology of visual culture, its pictorial representations and materiality, we will see a shift of focus to aesthetic values, related to form and materiality, and thus canonisation – the establishment of icons (of design). The canon will in this sense be a defence against aesthetic relativism. Escaping into the canon is art history’s way of dealing with the social, economic and knowledge and technology arts was included in the research on searching for connections with Bauhaus as an exemplification of the canon. Design as historically understood industrial design and design as a creative activity, as the energy needed to produce a canonical utilitarian object, i.e. one whose aesthetic or artistic value will go far beyond utilitarian, form the framework in the text for methodological discussion, reflections on defining concepts and critical analysis of scientific discourses and their possible junctures. transfer issues that are indispensable in the study of crafts, arts and craft and design. The history of art (but also popular culture!) has canonised many works and phenomena. One example is the Bauhaus, widely seen as the canon of 20th-century design, although Gropius himself defined its purpose in the words: “das ziel des bauhauses ist eben kein ‘stil’, kein system, dogma oder kanon [...]”. Similar phenomena took place concerning the design of the first half of the 20th century from the Lower Silesia area: the slogan “Breslauer Moderne” referred, in part, to the Werkbund exhibition in 1929 (WuWA), and the activity of the Wrocław Academy in the field of applied arts was included in the research on searching for connections with Bauhaus as an exemplification of the canon. Design as historically understood industrial design and design as a creative activity, as the energy needed to produce a canonical utilitarian object, i.e. one whose aesthetic or artistic value will go far beyond utilitarian, form the framework in the text for methodological discussion, reflections on defining concepts and critical analysis of scientific discourses and their possible junctures.
    Źródło:
    Artium Quaestiones; 2021, 32; 37-66
    0239-202X
    Pojawia się w:
    Artium Quaestiones
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-2 z 2

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