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"Bill, Max"
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Facilitation of students’ disembedding in an online visual arts and mathematics education program
Background
Disembedding is a crucial spatial thinking skill in visual arts and mathematics education. It is important in creating and analyzing artworks by separating a figure from its background, as well as for solving geometric problems where shapes must be viewed from new perspectives. Drawing upon research in psychology, arts, and mathematics education, the present study aimed to facilitate students’ disembedding in an online educational program employing the teaching experiment methodology. This program utilized concrete movement artworks, particularly those by Max Bill. Seven sixth-grade students participated remotely in this program, utilizing GeoGebra Classroom.
Main findings
The analysis of video data (talks and drawings) and written notes over three sessions revealed that this online educational program, which was designed for the specific context of visual arts and mathematics, offered students opportunities for the individual and group observation of diverse artworks, the tracing of shape contours, and guided attention to new perceptual organizations of shapes through prompting questions. Overall, this had the potential to facilitate students’ disembedding. This overall process challenged students’ initial simplistic shape organizations based on Gestalt principles, leading to the identification of primary and secondary structures, as well as reversible figures.
Conclusions/potential implications
This research sheds light on the concept of disembedding skills rooted in Gestalt psychology, and its connection to the figure-ground phenomenon observed in both artistic and mathematical contexts. This research offers theoretical and practical contributions. First, it suggests an emerging trajectory of disembedding and proposes methods for nurturing students’ disembedding skills. Second, this study serves as an example for art and mathematics educators in schools and informal learning environments (e.g., art museums) to support students’ spatial thinking. This study contributes to the development of educational programs that facilitate students’ spatial thinking in the context of STEAM (Science, Technology, Engineering, Arts, and Mathematics) education.
Journal Article
OTEIZA Y LA ARQUITECTURA DESDE SU BIBLIOTECA: GAUDÍ, LA BAUHAUS, LE CORBUSI
ABSTRACT The private Library of Jorge Oteiza, located inside the Foundation Museum Jorge Oteiza (Alzuza, Navarra), is composed of more than 6,000 volumes, around a hundred of which correspond to texts related to Contemporary Architecture, where the Basque sculptor shows a particular interest in Gaudí and the Sagrada Familia, the school of the Bauhaus and Le Corbusier and the Modulor. Their study makes possible a direct approach to the thought of the artist, who considers the book as an effective instrument through which he dialogues with their authors through annotations and comments that provide the keys to his own work. KEYWORDS Jorge Oteiza; library of artists; 20th Century art; aesthetics and art theory; Antoni Gaudi; Bauhaus; Max Bill; Le Corbusier. Tal idea había sido ya vislumbrada por Francisco Javier San Martín3, y en ella se reafirma posteriormente Emma López-Bahut, apuntando con acierto el concepto de diálogo: \"Se puede obtener mucha información del pensamiento de Oteiza del análisis de sus lecturas ya que trabajaba los textos subrayando, anotando, rebatiendo ideas expuestas en ellos, como si se tratase de un diálogo virtual con el autor\"4. Normalmente esta documentación guarda relación directa con el contenido del texto, tratándose de reflexiones que Oteiza lleva a cabo a partir de su lectura y en las que se extiende con mayor detalle; mas en otros casos se muestra independiente y tiene que ver con las propuestas plásticas que desarrollaba en aquel momento o con sus ideas sobre los más variados ámbitos -cultural, artístico, político, antropológico-, pero que por un motivo u otro decidió vincular al texto que estaba leyendo5.
Journal Article
Marxistas, ma non troppo. El derrotero de las ideas de izquierda en el proyecto Nueva Visión
El proyecto Nueva Visión, conformado por la revista nueva visión (1951-1957) y la editorial homónima fundada en 1955, se planteó desde sus inicios un objetivo modernizador fundado en la síntesis de las artes y la problemática de la forma, que se expresaba en los términos marxistas que muchos de sus miembros, como Tomás Maldonado, Edgar Bayley, Alfredo Hlito, etcétera, habían elaborado en el marco del arte concreto. Sin embargo, el ingreso de ciertas ideas provenientes de la arquitectura y el diseño, como el funcionalismo, el styling o el mismo concepto de diseño industrial \"que problematizaba el valor de uso y el valor del producto como mercancía\", pondría en tensión la impronta de izquierda. La influencia de Max Bill, a su vez, introducía la necesidad de una apertura crítica y de un antidogmatismo tanto en términos políticos como estéticos, que centraba la atención sobre elementos tan universales como la matemática. A partir del análisis de los artículos aparecidos en la revista nueva visión y de la observación del primer catálogo de la editorial, este trabajo propone reconstruir el derrotero que las ideas de izquierda tuvieron en este proyecto modernizador, con sus tensiones y contradicciones, como un modo de pensar en qué medida los aspectos políticos legitiman un proyecto artístico o condicionan su desarrollo.
Journal Article
Precise Experiments: Relations between Mathematics, Philosophy and Design at Ulm School of Design
The strong relationship between theoretical background in structural thinking and practical realization in composing and designing was one of the characteristics at Hochschule fuer Gestaltung (HfG) Ulm, the Ulm School of Design. This paper examines the special relationship between mathematics, philosophy and design at HfG Ulm, illustrated by examples of the foundation courses. This design approach assumes new relevance today in reference to rule-based or parametric designing with digital tools.
Journal Article
Seins-Formen
Der Konstruktivismus in der Kunst, der sich nach dem Ersten Weltkrieg als Stilrichtung herausbildete, verstand sich als die bildnerische Antwort auf die Produktionsweise der modernen Technik und das ihr entsprechende Lebensgefühl. Seine Begründer verzichteten auf abbildliche Darstellung und orientierten sich auf die Gestaltung elementarer Raum- und Flächenformen. Erst die zweite Generation der konstruktivistischen Künstler jedoch entwickelte einen strengen Begriff von Konstruktionsmethoden. Insbesondere die Zürcher Schule und die mit ihr kooperierende Stuttgarter Schule Anton Stankowskis haben die Prinzipien eines strengen Konstruktivismus ausgearbeitet. Sie leiteten eine neue Phase der nun 'konkret' genannten Kunst ein, die einen struktur- und einen zeichentheoretischen Aspekt hat. Jetzt stehen die Bildwerke in einem genau bestimmbaren Verhältnis zur wissenschaftlich-technischen Denkweise. Auf dieser Grundlage arbeitet die dritte Generation des Konstruktivismus nun an Problemen der Darstellung abstrakter Wirklichkeitsverhältnisse.
Diese grundlegende Studie arbeitet die Übereinstimungen von Denk- und Sehformen heraus und zeigt, daß diese scheinbar 'formalistische' Kunstrichtung einen durchaus realistischen Kern hat.
eBook
Anthropophagy in São Paulo's Cold War
The first biennial founded outside Venice opened in São Paulo Brazil in 1951, providing a fulcrum between “dependency” and “developmentalism” (to use economic terms). In terms of art history, it presents a useful anomaly in which an international style (“concrete abstraction,” a European import) was used simultaneously to eradicate local difference and to declare a cosmopolitan, up-to-date
(Brazilianness). More crucially, I argue that the São Paulo Bienal was the precondition for the newly rigorous conceptualism that followed, as Brazilian artists in the late ′60s rejected “Concretismo” to craft a new world picture, radically transforming margin and center through the profoundly theoretical practice of
— cultural cannibalism.
Journal Article
Max Bill : the master's vision
Max Bill was probably the most important Swiss artist of the 20th century. The film offers an introduction into his prolific work as architect, designer, sculptor and painter. During his lifetime he was a rebel – today he lives ever present amongst the most influential artists of the 20th century. A former Bauhaus student, his name stands for a gesamtkunstwerk of the avantgarde, which is firmly focused on the future, which bears a social responsibility and which intrinsically contains an engaged political message. What mattered for Max Bill was the creation of our environment and a green consciousness, which is currently of incredible imminence.
Streaming Video
Iberic
With its lyrical composition of interwoven irregular forms in black, orange, and red, Carmen Herrera's Iberic painting oscillates, in terms of its abstraction, between the geometric and the organic. Herrera painted this tondo-shaped work during a formative period in Paris between 1948 and 1954, when she experimented with different modes of abstraction and exhibited at the Salon des Réalités Nouvelles alongside established artists such as Theo van Doesburg, Max Bill, and Josef Albers. While most of her works from that time reflect the strong influence of the European avant-garde--from Suprematism to the Bauhaus--the inspiration for Iberic came instead from her encounter with the work of the Cuban artist Wifredo Lam, a close friend. Herrera's output during this period has also been associated with that of the Cuban modernist Amelia Peláez, particularly its sensuality and forceful color.
Trade Publication Article
Seins-Formen
Long description: Der Konstruktivismus in der Kunst, der sich nach dem Ersten Weltkrieg als Stilrichtung herausbildete, verstand sich als die bildnerische Antwort auf die Produktionsweise der modernen Technik und das ihr entsprechende Lebensgefühl. Seine Begründer verzichteten auf abbildliche Darstellung und orientierten sich auf die Gestaltung elementarer Raum- und Flächenformen. Erst die zweite Generation der konstruktivistischen Künstler jedoch entwickelte einen strengen Begriff von Konstruktionsmethoden. Insbesondere die Zürcher Schule und die mit ihr kooperierende Stuttgarter Schule Anton Stankowskis haben die Prinzipien eines strengen Konstruktivismus ausgearbeitet. Sie leiteten eine neue Phase der nun 'konkret' genannten Kunst ein, die einen struktur- und einen zeichentheoretischen Aspekt hat. Jetzt stehen die Bildwerke in einem genau bestimmbaren Verhältnis zur wissenschaftlich-technischen Denkweise. Auf dieser Grundlage arbeitet die dritte Generation des Konstruktivismus nun an Problemen der Darstellung abstrakter Wirklichkeitsverhältnisse.
Diese grundlegende Studie arbeitet die Übereinstimungen von Denk- und Sehformen heraus und zeigt, daß diese scheinbar 'formalistische' Kunstrichtung einen durchaus realistischen Kern hat.
eBook