22 found
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  1.  31
    New currents in italian aesthetics.Gillo Dorfles - 1953 - Journal of Aesthetics and Art Criticism 12 (2):184-196.
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  2.  35
    Kitsch, the World of Bad Taste.Chauncey S. Goodrich & Gillo Dorfles - 1971 - Journal of the American Oriental Society 91 (4):514.
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  3.  22
    Art and the public: Education for mutual understanding.Gillo Dorfles - 1958 - Journal of Aesthetics and Art Criticism 16 (4):488-496.
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  4. Appunti per una" estetica Zen, in rapporto all'arte moderna.Gillo Dorfles - 1959 - Rivista di Estetica 4:361.
     
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  5.  23
    Communication and symbol in the work of art.Gillo Dorfles - 1957 - Journal of Aesthetics and Art Criticism 15 (3):289-297.
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  6.  32
    Conflict between art and science.Gillo Dorfles - 1994 - World Futures 40 (1):83-86.
    There may be a common root from which art and science stem: the creativity which distinguishes the human being from the animal due to the element of intentionality in the creative act. Two kinds of creativities lead to completely different results: artistic activity is totally gratuitous, while science aims at attaining a specific end.
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  7. Comunicazione e struttura nell'analisi di alcuni linguaggi artistici.Gillo Dorfles - 1970 - Milano,: La goliardica.
     
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  8.  2
    Elogio della disarmonia.Gillo Dorfles - 1986 - Milano: Garzanti.
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  9.  14
    Horror pleni: la (in)civiltà del rumore.Gillo Dorfles - 2008 - Roma: Castelvecchi.
    E allora - possiamo mantenere, anche nel nostro 'Horror Pleni' quotidiano, una consapevolezza?
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  10.  1
    I cartelloni di Nespolo.Gillo Dorfles - 2015 - Rivista di Estetica:109-110.
    Nespolo’s posters have both advertising and educative value. Their style is the same of his artwork based on the inlay technique and the puzzle effect of the configurations. Various cultural events are advertised in Nespolo’s posters: music festival, sports competitions, conferences and also his own art exhibitions. The main features of this posters are: a chromatically salience, a visually simplicity and the typical Nespolo’s ludic attitude. These are the guarantee of the success of his posters.
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  11.  1
    Il divenire delle arti.Gillo Dorfles - 1959 - [Torino]: G. Einaudi.
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  12.  5
    Itinerario estetico.Gillo Dorfles - 1987 - Pordenone: Studio tesi.
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  13. L'oggetto creato dall'uomo e la sua funzione estetica.Gillo Dorfles - 1962 - Rivista di Estetica 7:408.
     
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  14.  2
    L'estetica del mito.Gillo Dorfles - 1967 - Milano,: U. Mursia.
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  15. Le oscillazioni del gusto.Gillo Dorfles - 1970 - Torino,: G. Einaudi.
     
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  16.  18
    Letters pro and con.Gillo Dorfles - 1956 - Journal of Aesthetics and Art Criticism 14 (3):387-388.
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  17.  22
    Lucia Pizzo Russo: dalla Gestalt all'empatia.Gillo Dorfles - 2011 - Rivista di Estetica 48:65-67.
    A brief reconstruction of the theoretical researches of Lucia Pizzo Russo in the fields of philosophy and psychology as well.
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  18. "Pour ou contre une esthétique structuraliste?" Traduction de Pierre Van Bever.Gillo Dorfles - 1965 - Revue Internationale de Philosophie 19 (3):409.
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  19. Per una fenomenologia del cattivo gusto.Gillo Dorfles - 1964 - Rivista di Estetica 9:321.
     
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  20.  1
    Simbolo, comunicazione, consumo.Gillo Dorfles - 1967 - Torino: G. Einaudi.
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  21.  79
    Sociological Aspects of Industrial Aesthetics: Industrial Design as a Popular Art-Form in a Technological Civilisation.Gillo Dorfles & Sally Bradshaw - 1971 - Diogenes 19 (74):111-122.
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  22.  11
    The Structuralists, from Marx to Levi-StraussSenso e insensztezza nell'arte d'oggi.Robert W. Kretsch, Rocjard de George, Fernande de George & Gillo Dorfles - 1973 - Journal of Aesthetics and Art Criticism 31 (3):423.
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