The word Pichwai has its roots in the Sanskrit pich (behind) and wai (hanging). A traditional art form that emerged in the 17th Century at the Nathdwara temple in Rajasthan, Pichwais are intricate paintings dedicated to Shrinathji and are typically hung behind the idol of the deity in local shrines
Sven Bikerts provides an epochal framework for this anxiety in The Gutenberg Elegies: The Fate of Reading in an
Electronic Age, originally published in 1994 and reissued in 2006. “The
decade of the 1990s,” Bikerts claims, “was a classic historical watershed”
(xi), marking the irrevocable influence of digital technology on the way
people think and relate to each other. For Bikerts, “the societal shift from
print-based to electronic communications is as consequential for culture as
was the shift instigated by Gutenberg’s invention of movable type” (192).
The effect, he argues, was to transform our sense of society being composed of isolated individuals who seek solace in the introspective contemplation and subjective immersion in deep time afforded by literature, to
one of information seeking citizens interconnected by a digital grid which keeps them perpetually in the present moment. This “network consciousness” (202), Bikerts argues, is at odds with the experience of inwardness
cultivated by serious reading, and this explains the waning influence of literature in contemporary culture. A natural consequence is that “the writer’s social and cultural status is as low as it has been for centuries. If there is anything consoling to be said, it is that the need for the writer is right
now probably as great as ever” (208).
- The Return of the
Omniscient Narrator
Authorship and Authority in
Twenty-First Century Fiction
We are entering an era of upheaval that some are calling the fourth industrial revolution.[1] The rise of artificial intelligence, and in particular generative art, threatens to upend our social and cultural landscape, leading to a renewed conflict between mechanical technique, art, and culture. While some technologists are proclaiming the death of art,[2] a murder allegedly committed by…
In the world of interior design, art and culture play a substantial role. They work together to make spaces look unique and meaningful. Art and culture are similar to best friends as they continue to inspire each other. Designing a place is not just about its appearance but also about what it communicates.
The art and cultural elements used in the interior design reflect the personas of the individuals dwelling there. Let’s understand how art and culture work together in interior design to make spaces more captivating and personal.
Read the full blog here: https://nativesutra.com/incorporating-art-and-culture-in-interior-design/
We can't always forget everything and move on but why should we let the past hold us back? When the present is standing in front of us with so much warmth?
Live the magic of cultural events
In this case: A spectacular pas de deux between lovers who, due to life situations, have to say goodbye.
Vive la magia de los eventos culturales
En este caso: Un espectacular paso a dos entre los enamorados que por situaciones de la vida se tienen que despedir
Let the music play with Amir ElSaffar, the Two Rivers Ensemble and Hamid al-Saadi
Amir ElSaffar was born and raised near Chicago, but his heart and soul are informed as much by Iraq as by Illinois. A multi-instrumentalist, vocalist and composer, ElSaffar marvelously marries Middle Eastern musical traditions with American jazz.
ElSaffar will make his Penn State debut April 4 in an Eisenhower Auditorium concert featuring his Two Rivers Ensemble and Iraqi vocalist Hamid Al-Saadi.
Amir ElSaffar — trumpeter, santur (hammered dulcimer) player, vocalist, and composer — is a master of diverse sounds. The Chicago-area native has distinguished himself by combining Middle Eastern traditions with jazz and other styles of music.
ElSaffar, who has a degree in classical trumpet from DePaul University, is fluent in the idiom of jazz, but he has also created techniques to play microtones and ornaments associated with Arabic music that are rarely heard on trumpet.
Two Rivers Ensemble, a sextet, combines the musical languages and instrumentation of Iraqi maqam and contemporary jazz. The ensemble’s music speaks the vernacular of swing, improvisation, and group interaction.
Through his powerful and highly ornamented voice, and in his comprehensive knowledge of the intricate details of the music and poetry of Iraq, generations and layers of the maqam tradition resonate through Hamid al-Saadi.
He is one of the few vocalists who is keeping the art alive today, at a time when so many elements of the tradition are in danger of extinction.