Moma Exhibition的問題，透過圖書和論文來找解法和答案更準確安心。 我們找到下列線上看、影評和彩蛋懶人包

The Production Sites of Architecture

為了解決Moma Exhibition的問題，作者Psarra, Sophia (EDT) 這樣論述：

The Production Sites of Architecture examines the intimate link between material sites and meaning. It explores questions such as: how do spatial configurations produce meaning? What are alternative modes of knowledge production? How do these change our understanding of architectural knowledge? Feat

uring essays from an international range of scholars, the book accepts that everything about the production of architecture has social significance. It focuses on two areas: firstly, relationships of spatial configuration, form, order and classification; secondly, the interaction of architecture and

these notions with other areas of knowledge, such as literature, inscriptions, interpretations, and theories of classification, ordering and invention. Moving beyond perspectives which divide architecture into either an aesthetic or practical art, the authors show how buildings are informed by inte

rsections between site and content, space and idea, thought and materiality, architecture and imagination. Presenting illustrated case studies of works by architects and artists including Amale Andraos, Dan Wood, OMA, Koen Deprez and John Soane, The Production Sites of Architecture makes a major con

tribution to our understanding of architectural theory. Sophia Psarra is Professor at the Bartlett, University College London, UK. Previously, she was Associate Professor at the University of Michigan and Senior Lecturer at Cardiff University. Her research explores the relationship between spatia

l characteristics, use, social relations and cultural meaning. Psarra has collaborated on the relationship between layout, exhibition narratives and visitors’ experience with cultural institutions such as the MoMA in New York and the Natural History Museum in London. She has won first prizes in inte

rnational architectural competitions and her work has been exhibited at Venice Biennale, the George Pompidou Center, NAI Rotterdam, and in London, Berlin, Milan and Athens. She is the author of Architecture and Narrative (2009) and The Venice Variations (2018).

Moma Exhibition進入發燒排行的影片

偶發到實現 ─ 林劍青創作論述

為了解決Moma Exhibition的問題，作者林劍青 這樣論述：

        筆者從小時候看著父親作畫，一直到自己成長迄今，回歸對藝術的探討，感受內心對藝術的悸動。藝術的路途是一種艱辛磨練，一種自我挑戰，是一種自我肯定的過程。對於筆者而言它是生命裡的一部分，是回憶的一部分，是未來希望的一部分。         個人的藝術創作形式是經由「偶發」到「實現」。「偶發」裡面包含著「即興─不可預見性」與「異想」。這可能讓創作者意識到當代任何的藝術創作是不能被事先決定的，也就是說藝術創作是不可預見的，純粹的藝術是即興的發揮，其淵源於內心的生機，也就是「內在生命」與「內在驅力」。藝術創作是絕對的自由，筆者嘗試著通過各種的形式與色彩來作為內心異想的表達，靠著不同的藝術

形式與媒材來實現創作出具有自我精神價值的作品。         本論文第一章、緒論，包含：創作研究之背景與動機、創作研究之目的、創作研究範圍與限制；第二章、創作學理基礎與文獻討論，包含：超現實主義、抽象表現主義、啟迪與相關藝術家；第三章、創作理念，包含：創作的意義、自我解構、潛意識的回歸、意識與潛意識的作用；第四章、創作媒材使用、技法表現研究，包含：平面繪畫、版畫、其他創作媒材使用；第五章、作品解析，包含：樹與根系列、墨與痕系列、絹版的另類思維、異想構成系列。第六章、結論。         筆者透過藝術創作，發覺內心情感，探索自我，以這篇創作論述為自己在美術系研究所的啟迪與發展成果做一段總結。

The Berlin School and Its Global Contexts: A Transnational Art Cinema

為了解決Moma Exhibition的問題，作者Abel, Marco (EDT)/ Fisher, Jaimey (EDT) 這樣論述：

The Berlin School and Its Global Contexts: A Transnational Art-Cinema came about in light of the Museum of Modern Art (MOMA)'s 2013 major exhibition of works by contemporary German directors associated with the so-called Berlin School, perhaps Germany's most important contemporary filmmaking move

ment. Christoph Hochh?usler, the movement's keenest spokesperson, stated that "the Berlin School, despite what the label suggests, is not a specifically German phenomenon. All over the world there are filmmakers exploring related terrain." In response to this "transnational turn," editors Marco Abel

and Jaimey Fisher have assembled a group of scholars who examine global trends and works associated with the Berlin School.The goal of the collection is to understand the Berlin School as a fundamental part of the series of new wave films around the globe, especially those from the traditional marg

ins of world cinema. For example, Michael Sicinski and Lutz Koepnick explore the relation of the Berlin School to cinema of Southeast Asia, including Apichatpong Weerasethakul and Tsai Ming-liang; Ira Jaffe and Roger Cook take a look at Middle Eastern film, with Nuri Bilge Ceylan and Abbas Kiarostam

i, respectively. The volume, however, also includes essays engaging with North American filmmakers like Kelly Reichardt and Derek Cianfrance as well as European auteurs like Antonioni, Tarr, Porumboiu, McQueen, and the Dardennes. Bringing German cinema into dialogue with this series of global cinema

s emphasizes how the Berlin School manifests-whether aesthetically or thematically, politically or historically-a balancing of national particularity with global flows of various sorts. Abel and Fisher posit that since the vast majority of the films are available with English subtitles (and at times

also in other languages) and recent publications on the subject have established critical momentum, this exciting filmmaking movement will continue to branch out into new directions and include new voices.The Berlin School and Its Global Contexts folds German-language cinema back into conversations

with international as well as transnational cinema. This volume will be of great interest to scholars of German and global cinema.

工業意象—杜瑀婕陶藝創作論述

為了解決Moma Exhibition的問題，作者杜瑀婕 這樣論述：

　　自就讀臺灣藝術大學工藝設計學系後，開始接觸大量的機械、工具與設備，及2020年研究生工作室搬遷至廢棄的臺北紙廠，園區內老舊、破碎的建築的風景，加上長時間身處陶瓷工廠裡都產生了相關的生命經驗，直接影響了筆者的審美感受。1934年MOMA舉辦的「機械藝術Machine Art」展覽，便是工業零件現成物成為藝術品的開端，學者Mark Del Vecchio在《Postmodern Ceramics》解釋了人們喜歡機械藝術的原因來自於家人在工廠裡工作的景象，以上被過去經驗以及環境所影響美感，此美學觀也被哲學家John Dewey在《藝術即經驗》中提出。　　筆者將陶瓷藝術創作中的工業風格分以「時間

的痕跡」、「工業符號的再現」及「互動與操作」三項，也藉由多位作品中具有工業意象的陶藝家，探討陶瓷藝術創作與工業意象之間的關係與表現。並創作出「廠域」、「居所」以及「跡」三個系列，其中「廠域」、「居所」系列靈感源自容器、工作室及住家環境，將室內空間與容器空間進行比較與探討；「跡」系列則是筆者對未來工業發展所產生的環境狀態，而想像出來的生物，透過演化偽裝成周遭的樣貌，並經由時間消逝所留下的「遺跡」。