Artistic Production Research Articles

Paleolithic portable art in the collections of the Irkutsk Regional Art Museum (Buret’ site)

The collection of Buret’ site is one of the most important archaeological complexes of the Upper Paleolithic of Siberia. The decorative elements on the mobile art found at the site marks the “classical stage” of the Upper Paleolithic. Field research was carried out in 1936-1940, under the general leadership of A.P. Okladnikov. In the 2000s, due to new research methods and data obtained on the stratigraphy and archeology of cultural remains, the comprehension of the object changed. This article examines the issues of morphology, manufacturing technology and decoration of ivory sculptures in the collection of the V.P. Sukachev Irkutsk Regional Art Museum, excavated in 1940. During the research it was established that in the materials of Buret’, as in the “classic” Mal’ta’s Paleolithic collection, there were various technological methods for making anthropomorphic and zoomorphic figures, using a stable set of tools and technological standards. The technology for producing portable art objects on the territory of the Buret’ site is in many ways similar to that used at the Mal’ta site. The research revealed the main patterns of production for each of the identified morphological types of items at both sites. For each of the types of mobile art objects studied, the basic technology of their production was adapted and acquired characteristic features, manifested in the specifics of using the main tools. Systematization of the data obtained during the analysis of the material made it possible to exclude the version of a random, chaotic selection of the tools used. It should be noted that among the relatively low-quality production of most objects of Buret’s portable art, one example of ornithomorphic sculpture stands out, distinguished by the skill and care of its production, based on the use of more advanced technology and careful processing of ivory tusk. We assume that the production of portable art at the Buret’ site was serial in nature and did not have the features of individual craftsman creativity. The use of universal tools of production indicates the priority of mass production over individual motives.

Aiming at Creativity and Ending up with a Range from Low‐Hanging Fruits to Foolishness: A Reflective Model of Creativity

ABSTRACTThe term “creative” is commonly used in everyday language and in academic discourse to discuss the nature of artistic and innovative productions. This usage inherently implies the existence of a variable of creativity that allows different creative works to be compared. The standard definition of creativity asserts that a production must possess both value and novelty in order to be considered truly creative. However, previous psychometric studies aimed at establishing the existence of such a creativity variable based on these two dimensions have produced results that seem to demonstrate their independence or even negative association, based on a weak to negative correlation between value and novelty. These widely replicated empirical results seem to call into question the notion of a single creativity variable associated with productions, leading to a paradoxical use of the term “creative” to describe the object produced. In our study, we aimed to reproduce these results while addressing methodological errors made in previous efforts to establish construct validity. This work led us to test the existence of a common cause for the observed variations in novelty and value. The higher order factor we obtain in our analysis encompasses subtle differences from the conventional creativity axis and interacts negatively with novelty, while correlating positively with value.

Real Subsumption of Art to Capitalist Technical Reproducibility. Walter Benjamin and Bolívar Echeverría on Technology, Politics and Utopia under Capital

<p>The objective of the present article is to analyse the examination carried out by Walter Benjamin on the transformation of art and the aesthetic experience in his work The Work of Art in the Age of its Mechanical Reproducibility. The analysis will be conducted departing from Bolivar Echeverría’s reception of Benjamin’s essay -that is informed by Karl Marx’s Theory of Subsumption- with the aim of precising and potentiating Benjamin’s critique to capitalist technology and stimulating the discussion on the post-capitalist technological alternatives. In addition to presenting the essential ideas of Benjamin’s argument on the modern technique of artistic production and the modern technique of production of goods in general, alternating them with Echeverría’s interpretations in which he remarks the critical utopian potential within them, the critical conceptual convergence between Walter Benjamin and Karl Marx around the analysis of the essence of modern technique and its historicity, is presented.</p>

European Smalt in 17th-Century Japan: Porcelain Decoration and Sacred Art

Japanese art tradition, contrary to the case of China, is characterized by an efficient and continued, although mostly undocumented, use of smalt from the late 16th century onward. Recent studies have successfully identified this pigment, the cobalt-colored glass that spread throughout the Old Continent during the Renaissance period, as the coloring agent employed for overglaze-blue enameling on Japanese porcelains produced at the kilns of Arita (the porcelain production center of Japan) from the early 1640s until the 20th century. Fragmentary evidence of the use of smalt in Japanese sacred art has also been reported, yet its earliest incorporation into such a type of traditional art form could not be identified. In order to resolve this crucial issue, portable EDXRF was employed for the non-destructive analyses of Japanese porcelains and sacred images bearing blue decoration. Scientific analysis allowed, for the first time ever, to establish a clear timeline of smalt use. Furthermore, this evidence and the literature data both agree, leading to the identification of the origin of the blue material used on both art productions.

Features of Societal Culture in Modern Painting

Culture in all its forms is the integrated fabric or system that contains the manifestations of life in its entirety, as well as its forms of knowledge, arts, beliefs, behaviors and prevailing values, a set of features that distinguish one society from another. Therefore, the concept of culture in its societal boundaries was characterized by keeping pace with all the variables taking place in society or the environment with its political, economic, social and cultural limits, which is a manifestation of civilization and a form of culture and for the early days of the first expression of the culture of peoples, whether in music, art or drama. The importance of this study comes from the fact that it deals with the subject of (features of societal culture in modern painting). Which made him of great importance in influencing the productions of artists, as he helped to study the characteristics of community culture in: 1- Returning to the features of the ancient societal culture and drawing inspiration from its vocabulary in contemporary works of art. 2-Identify the features of culture in European painting. 3-Shedding light on some artists in the field of European painting, whose artworks were associated with their social culture. The current study aims to identify the features of societal culture in modern painting and features of societal culture in modern painting at the period 1888-1937 in Europe.

The Evolutionary Impact of Artificial Intelligence on Contemporary Artistic Practices

This article explores the transformative influence of Artificial Intelligence (AI) on contemporary art, focusing on the integration of AI in creative processes, the reception of AI-generated art, and the ethical considerations it raises. As AI technologies become more sophisticated, they redefine artistic creation, collaboration, and interaction, expanding the traditional boundaries of art. By employing AI, artists access new tools for enhancing creativity, automating production, and engaging audiences through interactive installations. However, this integration also brings challenges, particularly concerning the authenticity and ethical implications of AI-generated art. The article discusses AI's role in augmenting creativity, its impact on art production, the dynamic ways it engages audiences, and the ethical dilemmas it presents, such as data privacy and intellectual property rights. The discussion aims to provide a comprehensive understanding of how AI is reshaping the art world, influencing artistic communities, and prompting a reevaluation of art in the digital age.

From Tradition to Innovation: Integrating 3D Printing in the Creation of Wooden Artistic and Furniture Products

From Tradition to Innovation: Integrating 3D Printing in the Creation of Wooden Artistic and Furniture Products

RETRATOS EM PAPEL E MADEIRA: ANTONIO CONSELHEIRO NA XILOGRAVURA E NO CORDEL

Antonio Conselheiro, the political and religious leader of the Belo Monte community, where the Canudos War took place between 1896 and 1897, is a notorious figure. Appearing in the popular imaginary as well as in several artistic productions, Conselheiro has been portrayed in countless ways in the most diverse textual genres. The present paper adresses verbal and nonverbal portraits of Conselheiro, making use of the semiotic analysis concepts of figurativization and thematization. pipipi analysis of two chapbooks of Cordel literature, Guerra de Canudos, by Raimundo Santa Helena, and Antonio Conselheiro, o Santo Guerreiro de Canudos, by Rodolfo Coelho Cavalcante, and of the woodcuts on the covers of the same two chapbooks.

Reinventing curatorial research: The museum as a laboratory for artistic learning during lockdown

AbstractThis paper engages in a reflexive analysis of a curatorial research project conducted in the museum when access was restricted due to the 2020 lockdown. This case study follows an action research design and was located at the Luis Seoane Foundation (A Coruña). This is a physical and virtual space for artistic and educational experimentation. This space emerges from the need to reinvent museum didactics and participant guidance from a new perspective. Thus, an online community was activated where museum staff, artists and other contributors could participate, showing how cultural spaces seek a more direct relationship attuned to their environment. The authors used an ethnographic method based on participant observation, including visual archives and artistic production as fundamental tools of this Arts‐based Educational Research.

Dämonisch, das Dämonische (Daemonic, the Daemonic)

Due to their prominence in Goethe’s autobiography (Dichtung und Wahrheit, Poetry and Truth) and in Johann Peter Eckermann’s Gespräche mit Goethe (Conversations with Goethe), Goethe scholarship has associated the lexemes dämonisch and das Dämonische with Goethe’s life, and especially with his seemingly divinely inspired artistic productivity. Yet when these lexemes are considered in relation to the ancient Greek term from which they are derived – δαíμων (German: Dämon; English: daimon or daemon) – they appear as part of a larger tradition in European thought that is concerned with non-rational sources of inspiration, as well as with the limits of reason itself. Far from offering a consistent theory or concept of the daemonic, Goethe uses this term and its cognates in various ways: to refer to a mysterious and terrifying force that influences one’s life and seems to operate at the nexus between character and fate; as a poetic topos that depicts the relation between the striving subject and its external world; as the morphological core of the personality associated with the tradition of astrology, a core which is seen as the locus of one’s productivity; and as a name or placeholder for phenomena that escape our rational comprehension. Precisely due to the flexibility and ambiguity of these terms, Goethe’s use of them has enjoyed a rich reception in fields as various as theology, religious studies, and philosophy from the nineteenth century until the present.

Classic Performing Arts Supply Chain Modeling in Covid 19 Protocol to Support D.I Yogyakarta Cultural Tourism Using Soft System Methodology

The performing arts are a unique and complex industry. To enjoy performing arts products, a customer must come to the rooms where the performance takes place. Performance products can be categorized as service products that do not have a physical form. Every performing arts performance always involves many works of art with a high level of coordination. The flow of materials and information (supply chain) moves very quickly within the limitations of space and time. Because the success of performing arts is influenced by many factors and actors, a performing arts manager must be able to manage the performing arts supply chain well.The Corona Virus Disease 19 (Covid-19) pandemic which has hit almost all corners of the world has formed new patterns of human behavior in working and interacting. Likewise, organizing and enjoying performing arts will look different compared to before the Covid-19 outbreak. The implementation of health protocols is needed to minimize the spread of the virus which has infected more than 13.2 billion people throughout the world.The performing arts supply chain policy model in the Covid-19 protocol to support cultural tourism in D.I Yogyakarta can be implemented by following the Joint Decree Guidelines of the Minister of Education and the Minister of Tourism and Economy dated 02 July 2020. Each actor must pay attention to the technical guidelines for preventing and controlling corona virus disease 2019. Each actor guarantees the hygiene of their respective performing arts equipment. Each actor maintains the form and duration of physical contact and pays attention to health protocols in activities throughout the performing arts supply chain. The performing arts model during the pandemic is realized in regulations that are in accordance with the technical guidelines for preventing and controlling the 2019 corona virus disease.

Informação, memória e sociedade

This abstract presents the countercultural movement in Cariri in the 1970s and outlines the artistic-cultural productions developed by modern marginalized youth. It identifies that such productions are configured as cultural artifacts endowed with information, as well as understood in the dimension of memory records for the Cariri region. It employs the concept of information within the context of culture and memory through the perspective of memory records, under the prism of Information Science, understanding memory collectively. The methodology is constituted as bibliographical, as well as exploratory, and utilizes the Information Regime as an analytical tool for contextual frameworks and artistic productions of youths from the 1970s in the city of Crato, in the Cariri region of Ceará. It considers that the cultural artifacts developed by these youths stem from the cultural order, endowed with information and memory, recorded in various typological artistic-cultural forms. Keywords: cultural information; memory records; counterculture in Cariri in the 1970s.

The Micro-Politics of Artistic Production among Artists with a Migration Background

Based on two research projects in the Brussels-based artistic workspace and NGO Globe Aroma, this paper shows how artists with a (recent) migration background make sense of the arts and the space in which they are produced. Born out of a need to counter the dominant presence of men in this artistic workspace and create a welcoming environment, textile-making and live radio were used as means of reclaiming space, fostering solidarity, and sharing personal narratives. Textile-making, traditionally associated with domesticity, was repurposed for public exhibition, challenging the dichotomy between private and public spheres. Furthermore, the projects challenged neo-colonial dynamics and traditional research methodologies. While asking which (micro-)political meaning these artists give to their works and practices, the paper also reflects on the cultural thresholds experienced by migrant artists wishing to access hegemonic arts institutions.

TRAINING OF PROFESSIONAL (VOCATION-TECHNICAL) EDUCATION ACQUISITIONS IN THE PROFESSION OF "WOOD AND BIRCH CARVING" IN ACCORDANCE WITH THE REQUIREMENTS OF THE LABOR MARKET

Taking into account the urgency of the post-war reconstruction of Ukraine, the training of qualified workers, including the so-called "creative" professions, is becoming important. One of these is the profession of "Wood and birch carver", which can be mastered at the Byla Tserkva Vocational Lyceum. The woodcarver remains one of the national types of applied art to this day. After graduation, graduates can work at enterprises producing art products. If you wish, you can start your own business for the production of your own products.

Process evaluation of an art therapeutic treatment for children and adolescents with psychosocial problems

The Affect regulating Arts Therapies program is an approach designed to address psychosocial problems among children and adolescents. It focuses on improving affect-regulation skills through tension regulation, attention regulation, and affect-regulation phases. This study encompassed a process evaluation, in which treatment integrity, satisfaction, and perceived benefits and barriers were explored. Treatment integrity was investigated by observing therapeutic actions during recorded sessions applied in practice. Satisfaction was evaluated using a survey. Perceived benefits and barriers were examined using semi-structured interviews. Children, adolescents, parents/caregivers, teachers, and art therapists were all involved. All predefined therapeutic actions were observed during therapy sessions, and participants expressed their satisfaction with and understanding of therapists. The identified benefits of the program included acknowledgment of the child/adolescent, non-verbal work, and the creation of art products. Collaboration, favorable therapy conditions, parental involvement, psychoeducation, and the therapist's attitude also contributed to success. Barriers included goal misalignment, logistical/financial issues, emotional problems among parents/caregivers, parental commitment, and limited teacher involvement. The findings affirm ArAT as a promising strategy for addressing psychosocial problems among children and adolescents. Further research is required in order to evaluate the effectiveness of ArAT.

Поэтика вещи в книге сказов П. П. Бажова «Малахитовая шкатулка»

The article deals with P. P. Bazhov’s world of things as an aesthetic unity. The book of skaz (folk tales) of the Ural writer is a unique artistic world, the structure of which is defined by a system of several basic oppositions. It is a world extremely full of things, such as household items (people’s everyday lives), clothes (social status, the «us-them» divide), instruments and tools of craft (key topics of handicraft / craftsmanship) etc. A special role in this objective world is played by artisan products that combine the functions of a household item, an artefact and a magical object, and magical objects per se that are received from a donor but are usually different in function from their proper fairytale counterparts, which are common to the traditional Russian folklore and literary fairytales based on folklore stories. Bazhov’s system of images-things also includes a specific «human as a thing» category that is connected with the main conflicts of the book depicting serfdom-based mining civilization. Generally, the peculiarity of the world of things in «The Malachite Casket» is defined by the «borderline» nature of the skaz genre, its complex relationship with folklore and the unique character of Bazhov’s aesthetic experiment.

Material agency in art installations: exploring the interplay of art, space, and materials in Detroit

Abstract. Decades of decline, disinvestment, and racism have left Detroit with an abundance of abandoned buildings, ruins, vacant lots, and illicit trash dumps. Though these structures and materials might have forfeited their previous purposes, they can act as catalysts, substances, and co-creators of artworks. The paper is thus interested in examining the intricate interplay between art, space, and materiality in Detroit further. Drawing from the practices of local artists Olayami Dabls and Scott Hocking, the paper adopts a new materialist framework to investigate the dynamic agency of matter in the artistic process. By considering materials as active participants in the production of art and space, the paper seeks to add to the emerging interest in the emancipation and meaning making of material in art as well as cultural geography's engagements with new materialism.

Exploring the Aesthetic and Functional Aspects of Recycled Furniture in Promoting Sustainable Development: An Applied Approach for Interior Design Students

This study aimed to explore the sustainable aesthetic and functional dimensions of environmental waste in the context of interior design applications by students. Employing both descriptive and applied methodologies, a series of artistic works derived from environmental waste, specifically metal and wood, were conceptualized and executed by art education students. These works, totaling 11 artistic models in interior design, underwent chemical treatment as part of the process. An evaluation card, assessed by arbitrators, was utilized to gauge the standards of aesthetic and functional sustainability inherent in the artworks. Technical data were collected and subsequently analyzed using SPSS software, which facilitated the calculation of arithmetic averages, standard deviations, and t-tests to ascertain the extent to which sustainability standards were met within the aesthetic and functional dimensions of the works. The study findings indicated that the average response scores for the aesthetic and functional dimensions, pertaining to the achievement of sustainability for wood and metal waste, were notably high. This underscores the potential of producing artful works suitable for interior design applications within the spaces of the College of Education. With an average score of 3.984, students exhibited positive engagement with the aesthetic and functional aspects of their artistic products, indicative of their considerable ethical significance. This augurs well for the feasibility of attaining sustainability through the recycling of wood and metal waste. Furthermore, this research underscores the necessity of integrating aesthetic, environmental, and social values in achieving sustainable aesthetic and functional environmental values within the interior design curriculum. This integration demands a comprehensive understanding of user expectations, technological advancements, and the cultural background, customs, and traditions of both users and society at large.

Introducing Indonesian Art in the English Target Text through Translation

Indonesia is a country of various cultures representing each ethnic group around the archipelago. Each culture creates its own art ranging from its music including its traditional musical instruments, dance, its architecture, to its martial arts. The way people in each ethnic group name their art products is specifically unique. It may not contain any general characteristics as other cultures have. The uniqueness can only be introduced to other cultures within the nation as well as outside of the nation through a language understood by them. It is therefore that the information can be shared with others through translation work as the equivalents given in the target text. This research uses some Indonesian novels and their translation into English as the data source. Using the descriptive qualitative method, this research is aimed at revealing Indonesian art found in Indonesian novels and describing how they are shown in the English target text as their equivalents. How the author in the source text expresses the art is the first research question and what strategies are used in delivering the art through translation becomes the second research question. The results show that not all the authors of the source novels are aware that the art they mention in the novel need to be added with more information, and it is identified that the dominant strategy of translation used in translating the name regarding the art is translation using a loan word or loan words plus explanation. Keywords: Indonesian art, source text, strategies of translation, target text, translation

Can Art be Offensive? To Whom? A View of Artistic Obligations

All over the world, there are artists of varied fields. These artists express their skills, thoughts, philosophies, and beliefs through their artistic works. Humans are not a homogenous group who share common and basic beliefs and philosophy of life. Consequently, any work of art is mostly not going to be liked by all. To address the need the question; can art be offensive and to whom? requires us to first examine the works of art and the persons who appreciate them as a means of examining how artworks could be considered offensive to people. This article uses textual and content analysis as a means of examining some of the legal and cultural implications of art products and how injurious they can be to societies and individuals. From examples drawn from the analysis, it is surmised that artists should know they do not operate in an abstract world but a world of culture, religion, and preferences. It is thus recommendable that artists take due cognizance of the communities in which they operate and act accordingly to avoid damaging criticism, threats of death, and lawsuits.