Vision cash for art when Herbert Marcuse

Aims find dismantling infrastructure formative to see Marcuse cash – analytical, of how the like can be art: imagination- or what he called the new sensitivity – to play in a matter of revolutionizing awareness and the formation of perception. Working tools new knowledge motivation main breeding aesthetic actor, and a new language- to create a new world on the level of thought and reality. In a world possible for a rational civilization technologically advanced, and required by the overall process of the process of production of the necessities, and the policies of capital, and market volatility, and means of Mass communication, and methods of advertising…..etc. that reinforce the foundations of the entire system of control and coordination and domination strips in advance of cash protest, opposition and all of its weapons, and fake awareness, and reduce the internal dimension of culture and thought, and creates countless needs of Pseudomonas. However converts individual selves as a whole, as things to tools running in a huge total productive, derives its raison derter, and the continuation of his, and his strength, and the inclusion of dominance, the productivity of a huge, and productivity than do those of the achievements in the various level of life.

The Dialectic of the Beautiful and the Ugly and its Approach in the Printmaking

Aesthetics concepts interfered with moral concepts For long periods. Taste was considered to be a reflection of ethics. The liberation from this connection between beauty and morality happened in recent studies and contemporary art. The thinker (Croce) talked about the Value and its reverse to distinct between the beautiful and the ugly and that beauty is (a fortunate expression), and ugliness is (an unfortunate expression). There for the theory of ugliness in art as, an aesthetic concept, looks false the thinker. The thinker (T. Stace) pointed to the failure in distinction between what is beautiful and what is ugly. It then carries an Aesthetics pleasure as beauty. The thinker (Bosanquet) sees that the ugly is as much expressive would be a kind of an Aesthetic value. Ugliness has the beauty same complex actors. Let us stop at the idea of (difficult beauty) which sees that there is what causes a problem in tasting the value. All this is done with readings compared to samples of the printmaking work. which belons to different periods, but the most important works of contemporary, its modern techniques.

The Impact of Religious spirit of the age on Art

Every era has its own intellectual and social dimensions the influence of which extend to touch the artistic topics in terms of creativity and production conditions. The religious belief is considered as an important effect on the whole historically-successive artistic process. The oppression exercised by the religious authority on creativity has always been present, but in forms that differ from an era to another. Viewing the religious theme embodied in art works, we will recognize that vast area achieved throughout ages. At early stages art rested on primitive, mysterious magic-based beliefs. Then art introduced a physical representation of the images of the national gods and religious beliefs that used to give explanations about the universe and glorify kings. Clergymen, then, started to identify the boundaries and function of art in a way that served their goals. Christian religious men continued to employ art for the sake of their messages and teachings with a controversy over the role and limits of art. On the other side, Islamic art expanded but it neither served belief nor subject to any religious guidance. With certain spiritual nature, such Islamic art might have sought to avoid prohibition fatwas. Finally, art could not be freed from religion scopes until Renaissance had come with its human and mental spirit.

دمشق في سجل الحضارة و الفن

تبحث الدراسة عن العناصر الجمالية لدمشق بوصفها مدينة تاريخية، و ما يتعلق بذلك من تفاصيل عنها و عن الحياة الشعبية فيها، و كل ما له أهمية خاصة مما انعكس في تجربة الفنانين التشكيليين، الذين كان لإبداعاتهم و نشاطاتهم و نداءاتهم، مع من معهم من المعماريين و الباحثين التاريخيين و المهتمين و المتفهمين من أولي الأمر ، قدر كبير من الأثر في مجال الحفاظ على معالمها و حمايتها من تعديات غير المدركين للقيمة الجمالية التي لاتتجزأ لشوارعها و أزقتها بكل ما تحتضنه من مساجد و عمارات و فسحات و أسواق و أبواب و خانات و بيوت و شرفات و مناهل و زخارف و ورود..الخ، أو غلبوا عليها نزعة الاستثمار و حاجة التوسع على القيمة التاريخية و الثقافية و الفنية التي لا توازنها حتى الغايات السياحية و الخدمية أو المرورية، حين يتطلب الأمر التغيير الكلي أو الجزئي لمعلم من المعالم و لن يكون التغيير مقبولا في حال من الأحوال إلا في إطار الترميمات المتخصصة، و التدعيمات الضرورية الحذرة للبيوت و الأبنية العامة و المنشآت الأخرى التي تحاكي تراثها و خصائصه الأسلوبية و التقنية.

الحرية و الإبداع و علاقتهما بمفاهيم الفن و الجمال

جاءت فكرة هذه الدراسة بوصفها مشروعًا بحثيًا علميًا متكاملا على قاعدة أساسية قوامها : اثر الحرية في ابتكار حالة التوأمة الطبيعية بين الثقافتين الإبداعية البصرية، و الإبداعية الفكرية من خلال علاقتهما بالمبدعين من فنانين و مثقفين و علاقتهما بالبيئة و الثقافة على قاعدة التواصل و الاتصال و ذلك في محاولة جادة لاستعادة دور الدراسات الإبداعية باعتبارها أحد المحاور التي تلتقي عليها مؤتمرات الحضارات و الثقافات لكي تعيد الاعتبار إلى لغة الفكر و الحوار الحر، و تعزز التمسك بالقيم و الأخلاق و التراث. و ترفع راية الثقافة الإبداعية الحرة في محاولاتها الجادة للكشف عن تنوع الاتجاهات المعاصرة التي تزاوج بين الأصالة و الحداثة، و المهنة و الاحتراف، و الفن و الإبداع، و الجمال و الخير و الحرية....؟