Selected Courses on Digital Art-UOWM

13 Δεκεμβρίου 2012


Filed under: Notes — admin @ 06:20

Δεκέμβριος 2012 λαϊκή αγορά της Φλώρινας
να προσθέσω και το χέρι 
και να συσχετιστεί αφενός με την έννοια της πολυτέλειας
αλλά αι με την έννοια του μήλου αλλά και με την έννοια της γής….
………………………………the intentionally problematic nature of beauty and seduction as well as works by fellow artists and architectural masterpieces such as Renaissance palaces………………………………..


From Wikipedia, the free encyclopedia

Don Juan in Mozart’s opera Don Giovanni, a painting by Max Slevogt

In social scienceseduction is the process of deliberately enticing a person, to lead astray, as from duty, rectitude, or the like; to corrupt, to persuade or induce to engage in sexual behaviour. The word seduction stems from Latin and means literally “to lead astray”. As a result, the term may have a positive or negative connotation. Famous seducers from history or legend include LilithGiacomo Casanova and the character Don Juan.[1]
Seduction, seen negatively, involves temptation and enticement, often sexual in nature, to lead someone astray into a behavioral choice they would not have made if they were not in a state of sexual arousal. Seen positively, seduction is a synonym for the act of charming someone — male or female — by an appeal to the senses, often with the goal of reducing unfounded fears and leading to their “sexual emancipation”.[citation needed] Some sides in contemporary academic debate state that the morality of seduction depends on the long-term impacts on the individuals concerned, rather than the act itself, and may not necessarily carry the negative connotations expressed in dictionary definitions.[2]


Seduction is a popular motif in history and fiction, both as a warning of the social consequences of engaging in the behaviour or becoming its victim, and as a salute to a powerful skill. In the Bible,Eve offers the forbidden fruit to Adam. Eve is not explicitly depicted as a seductress[3] but some extra-Biblical commentary and art[4] promote this viewpoint. Eve herself was verbally seduced by the serpent, believed in Christianity to be Satan; the Sirens of Greek mythology lured sailors to their death by singing them to shipwreck; Cleopatra beguiled both Julius Caesar and Marc Antony,Dionysus was the Greek God of Seduction and wine, and Persian queen Scheherazade saved herself from execution by story-telling. Famous male seducers, their names synonymous with sexual allure, range from Genji to James Bond.
In biblical times, because unmarried females who lost their virginity had also lost much of their value as marriage prospects, the Old Testament Book of Exodus specifies that the seducer must marry his victim or pay her father to compensate him for his loss of the marriage price: “And if a man entice a maid that is not betrothed, and lie with her, he shall surely endow her to be his wife. If her father utterly refuse to give her unto him, he shall pay money according to the dowry of virgins.”


From Wikipedia, the free encyclopedia
Simple, unadorned book cover.
Title page of the original Danish edition from 1843.
Author(s) Søren Kierkegaard
Original title Enten-Eller
Country Denmark
Language Danish
Series First authorship (Pseudonymous)
Genre(s) Philosophy
Publisher University bookshop Reitzel,Copenhagen
Publication date February 20, 1843
Published in English 1944 – First Translation
Pages 800+
Followed by Two Upbuilding Discourses, 1843
Published in two volumes in 1843, Either/Or (original Danish title: Enten ‒ Eller) is an influential book written by the Danish philosopher Søren Kierkegaard, exploring the aesthetic and ethical “phases” or “stages” of existence.
Either/Or portrays two life views, one consciously hedonistic, the other based on ethical duty and responsibility. Each life view is written and represented by a fictional pseudonymous author, the prose of the work depending on the life view being discussed. For example, the aesthetic life view is written in short essay form, with poetic imagery and allusions, discussing aesthetic topics such as musicseductiondrama, and beauty. The ethical life view is written as two long letters, with a more argumentative and restrained prose, discussing moral responsibilitycritical reflection, andmarriage.[1] The views of the book are not neatly summarized, but are expressed as lived experiences embodied by the pseudonymous authors. The book’s central concern is the primal question asked by Aristotle, “How should we live?”[2] His motto comes from Plutarch, “The deceived is wiser than one not deceived.”[3]
The esthetic is the personal realm of existence. Personally you have the possibility of the highest as well as the lowest. The ethical is the civic realm of existence. You can be oblivious to everything going on around you or you can get involved. An individual can go too far in these realms and lose sight of him/her self. Only religion can rescue the individual from these two realms arguing with each other all day long. The spirit has to awaken in the single individual and this book, Either and Or, is written to the single individual. Kierkegaard’s challenge is for You to “discover a second face hidden behind the one you see”[4] in yourself first, then in others.
The Middle Ages are altogether impregnated with the idea of representation, partly conscious, partly unconscious; the total is represented by the single individual, yet in such a way that it is only a single aspect which is determined as totality, and which now appears in a single individual, who is because of this, both more and less than an individual. By the side of this individual there stands another individual, who, likewise, totally represents another aspect of life’s content, such as the knight and the scholastic, the ecclesiastic and the layman. Either/Or Part I p. 86-87 Swenson

Elena Fiore

From Wikipedia, the free encyclopedia
Elena Fiore (born 26 July 1928) is an Italian film actress, best known for her roles in Lina Wertmuller films.
Born in Naples, Elena Fiore debuted in 1972 with the breakout role of Amalia Finocchiaro, a little attractive mature woman full of sexual desires, in Wertmuller’s The Seduction of Mimi;[1] after similar roles in, among others, Love and AnarchySeven BeautiesNeapolitan Mystery and The Marquis of Grillo she retired from acting in the early eighties.[1]

American Beauty (film)

From Wikipedia, the free encyclopedia
American Beauty
Poster image of a woman's belly with her hand holding a rose against it.
Theatrical release poster
Directed by Sam Mendes
Produced by Bruce Cohen
Dan Jinks
Written by Alan Ball
Starring Kevin Spacey
Annette Bening
Music by Thomas Newman
Cinematography Conrad Hall
Editing by Tariq Anwar
Christopher Greenbury
Distributed by DreamWorks Pictures
Release date(s)
  • September 17, 1999
Running time 122 minutes
Country United States
Language English
Budget $15,000,000
Box office $356,296,601[1]
American Beauty is a 1999 American drama film directed by Sam Mendes and written by Alan BallKevin Spacey stars as office worker Lester Burnham, who has a midlife crisis when he becomes infatuated with his teenage daughter’s best friend, Angela (Mena Suvari). Annette Bening co-stars as Lester’s materialistic wife, Carolyn, and Thora Birch plays their insecure daughter, Jane; Wes BentleyChris Cooper, and Allison Janneyalso feature. The film has been described by academics as a satire of American middle class notions of beauty and personal satisfaction; analysis has focused on the film’s explorations of romantic and paternal love, sexuality, beauty, materialism, self-liberation, and redemption.
Ball began writing American Beauty as a play in the early 1990s, partly inspired by the media circus around the Amy Fisher trial in 1992. He shelved the play after realizing the story would not work on stage. After several years as a television screenwriter, Ball revived the idea in 1997 when attempting to break into the film industry. The modified script had a cynical outlook that was influenced by Ball’s frustrating tenures writing for several sitcoms. Producers Dan Jinks and Bruce Cohen took American Beauty to DreamWorks; the fledgling film studio bought Ball’s script for $250,000, outbidding several other production bodies. DreamWorks financed the $15 million production and served as the North American distributor. American Beauty marked acclaimed theater director Mendes’ film debut; courted after his successful productions of the musicals Oliver! and Cabaret, Mendes was nevertheless only given the job after twenty others were considered and several “A-list” directors turned down the opportunity.
Spacey was Mendes’ first choice for the role of Lester, even though DreamWorks had urged the director to consider better-known actors; similarly, the studio suggested several actors for the role of Carolyn until Mendes offered the part to Bening without DreamWorks’ knowledge. Principal photography took place between December 1998 and February 1999 on soundstages at the Warner Bros. backlot in Burbank, California and on location in Los Angeles. Mendes’ dominant style was deliberate and composed; he made extensive use of static shots and slow pans and zooms to generate tension. Cinematographer Conrad Hall complemented Mendes’ style with peaceful shot compositions to contrast with the turbulent on-screen events. During editing, Mendes made several changes that gave the film a less cynical tone.
Released in North America on September 15, 1999, American Beauty was positively received by critics and audiences alike; it was the best-reviewed American film of the year and grossed over $350 million worldwide. Reviewers praised most aspects of the production, with particular emphasis on Mendes, Spacey and Ball; criticism tended to focus on the familiarity of the characters and setting. DreamWorks launched a major campaign to increase American Beautys chances of Academy Award success; at the 72nd Academy Awards the following year, the film won Best PictureBest DirectorBest Actor (for Spacey), Best Original Screenplay and Best Cinematography.


Seduction, Sexuality and Sin

Red by a large margin is the color most commonly associated with seduction, sexuality, eroticism and immorality, possibly because of its close connection with passion and with danger.[96]
Red was long seen as having a dark side, particularly in Christian theology. It was associated with sexual passion, anger, sin, and the devil,.[97] In the Old Testament of the Bible, the Book of Isaiah said: “Though your sins be as scarlet, they shall be white as snow.”[98] In the New Testament, in the Book of Revelations, the Antichrist appears as a red monster, ridden by a woman dressed in scarlet, known as the Whore of Babylon:
“So he carried me away in the spirit into the wilderness: and I saw a woman sit upon a scarlet coloured beast, full of names of blasphemy, having seven heads and ten horns. “And the woman was arrayed in purple and scarlet colour, and decked with gold and precious stones and pearls, having a golden cup in her hand full of abominations and filthiness of her fornication: “And upon her forehead was a name written a mystery: Babylon the Great, the Mother of Harlots and of all the abominations of the earth: And I saw the woman drunken with the blood of the saints, and with the blood of the martyrs of Jesus.[99]
Satan is often depicted as colored red and/or wearing a red costume in both iconography and popular culture.[100] By the 20th century, the devil in red had become a folk character in legends and stories. In 1915, Irving Berlin wrote a song, At the Devil’s Ball, and the devil in red appeared more often in cartoons and movies than in religious art.
In 17th century New England, red was associated with adultery. In the 1850 novel by Nathaniel HawthorneThe Scarlet Letter, set in a Puritan New England community, a woman is punished for adultery with ostracism, her sin represented by a red letter ‘A’ sewn onto her clothes.[101]
Red is still commonly associated with prostitution. Prostitutes in many cities were required to wear red to announce their profession, and houses of prostitution displayed a red light. Beginning in the early 20th century, houses of prostitution were allowed only in certain specified neighborhoods, which became known as red-light districts. Large red-light districts are found today in Bangkokand Amsterdam.
In Roman Catholicism, red represents wrath, one of the Seven Deadly Sins.
In both Christian and Hebrew tradition, red is also sometimes associated with murder or guilt. with “having blood on one’s hands,” or “being caught red-handed.”[102][103]

Δεν υπάρχουν Σχόλια »

No comments yet.

RSS feed for comments on this post. TrackBack URL

Leave a comment

Powered by WordPress

error: Content is protected !!