Art Systems Research Articles

Deconstruction of Urban Public Space Art Design Using Intelligent Sensor and Information Fusion

The main purpose of smart city is to improve the quality of life, improve the efficiency of life, and save the energy resources of life, which is in line with the current global concept of low-carbon environmental protection, energy saving and emission reduction, and ecological sustainable development. Under the process of smart city, the development of urban public space is also committed to meeting the material and spiritual needs of residents’ lives. For the system hardware design, the street lamp node, and the concentrator node hardware design, the sensing node is composed of multiple sensors. Its main components are temperature sensor, infrared sensor, sound sensor, and light intensity sensor, which, respectively, realize the collection of temperature, infrared, sound, and light intensity information. The street light sensing system uses multisensor information fusion technology to detect the situation of people and vehicles in real time, so that people and vehicles can turn on the street lights and turn off the street lights of unmanned vehicles. Adjust the street light switch according to the intelligent analysis of the lighting demand scene in order to enhance the accuracy of the system to identify the lighting demand scene. This enables the system to provide safe lighting conditions for urban traffic while saving the power consumption of urban lighting. The sensor system of the street light randomly selects the detection results of temperature and humidity within a certain period of time. The error rate of the final test result is 1/2 of that of the traditional test, and the accuracy is far lower than that of the traditional measurement method. Regarding the lighting system of street lamps and public art in urban public spaces, it is worthy of extensive promotion to control street lamp lighting through sensor information fusion technology and reduce energy consumption.

Appearance Design Method of Ceramic Art Based on VR Visualization Technology

In order to improve the effect of ceramic art appearance design, this work studies the appearance design method of ceramic art combined with VR visualization technology and builds an intelligent model. According to the needs of the industrial site and the requirements of the lighting system, the area type of the lighting area is determined in this study, and the light of the virtual ceramic product is irradiated on the target detection plane through the refraction of the lens. Based on the Lambertian luminescence characteristics of the point light source virtual ceramic products and the uniform distribution of illuminance on the lighting surface, a mathematical model of the lighting system is established. Taking the realization of a rectangular lighting area with high uniformity as the main goal, the mathematical model is used to construct a system of partial differential equations of free-form surfaces, and the effect of the method in this study is verified by combining with the simulation research. The experimental research shows that the appearance design system of ceramic art based on VR visualization technology proposed in this study has a good effect and can effectively improve the interaction effect of appearance design of ceramic art.

Champa cultural imprints in northern Vietnam through historical and archaeological resources

Champa is remembered today through a system of temple architecture and sculpture art as a brilliant civilization that once existed in Central Vietnam. Champa had always maintained political and economic ties with the Đại Việt dynasties throughout its history. The article focuses on Champa cultural imprints found in northern Vietnam, specifically sculptures from the L and Trần dynasties (1009-1400). The newly discovered artifacts in Northern Vietnam were compared to Champa sculptures of the same period (11th-14th centuries), demonstrating strong Champa cultural influences in North Vietnam. The article also uses written sources and records on the migration and settlement of the Champa people in North Vietnam to demonstrate the cultural imprints that have remained to this day.

ВИКОРИСТАННЯ ІНФОРМАЦІЙНО-КОМУНІКАТИВНИХ ТЕХНОЛОГІЙ У ПРОЦЕСІ ВИКЛАДАННЯ ФІЛОЛОГІЧНИХ ДИСЦИПЛІН ДЛЯ СТУДЕНТІВ-ПОЛОНІСТІВ

The article reveals the peculiarities of the use of information and communication technologies in the process of teaching philological disciplines for Polonist students. It was determined that information and communication competence is one of the key competences of a modern educated person. The essence of the concept of "information and communication technologies" is clarified, the understanding of information and communication competence is outlined, and the positive factors of ICT in the modern educational process are pointed out. The article defines the main didactic functions that are implemented with the help of ICT in the process of teaching philological disciplines for Polonist students: cognitive, developmental, research, communicative. An overview and description of the information and communication technologies used in the process of studying philological disciplines by Polonist students was made, in particular, these are online resources for creating presentations, quizzes, book trailers, tests, mind maps, etc. It is suggested to use Prezi, Google Docs, Haiku Deck - these are cloud services that can be used to create various presentations in classes on "History of Polish Literature", "Polish Literature in the Art System", "Linguistic Studies" and others. For practical lessons on "Practical Course of the Polish Language", "Phonetics, Morphology, Lexicology and Phraseology of the Polish Language", we suggest using various platforms for creating quizzes, practical tasks and flashcards with didactic tasks. Conducting electronic monitoring of students, which is the basis for obtaining an objective assessment of the level of educational achievements, should be carried out using various online resources. Attention in the article is focused on the effectiveness of teaching students usig ICT. It is indicated that information and communication technologies allow to intensify the educational process, to increase the speed of perception, understanding and depth of assimilation of knowledge.

Distributed acoustic sensing with optical fibres: Fundamentals and applications

Because of their intrinsic geometrical features and extraordinary transparency, optical fibers allow for a continuous and dynamic monitoring of strain along all their length. In state of the art systems, 100 000 points can be resolved over a range of the order of 50 km, providing an extremely cost effective solution per sensing unit. In its basic implementation, a light pulse is injected into the sensing optical fibre and the Rayleigh backscattered light is continuously monitored, in a process similar to a radar system. While the phase relation between different point along the fiber is used to reconstruct the strain (thus the acoustic information), the time of flight (e.g., delay between injected pulse and received backscattered light) provides information about the physical location along the fiber. In the last decade, research on novel detection schemes and fibers has allowed to extend the detection range to over 170km, to decrease the spatial resolution below 10 cm and significantly increase the signal-to-noise-ratio. Because of this, distributed acoustic optical fiber sensing (DAS) has found applications in the oil and gas industry for oil well monitoring and geoseismics and more widely for the monitoring of border and perimeter security, resulting in market of the order of $1 billion. More recent applications include monitoring of railways and road traffic, structural health, earthquakes and other geophysical events.

Бронзові окімоно доби Мейдзі в музейних колекціях України: компанія Міяо

The study is focused on a bronze sculpture of small forms (okimono) of the Meiji era, in particular, art pieces that came to Europe under the Miyao brand, from the collections of the Bohdan and Varvara Khanenko Museum of Art, Lviv National Art Gallery, Feldman Family Museum (Kharkiv). The article highlights the historiographical and terminological aspects of the research topic, outlines the principles of formation of the source base, attribution, and examination of the works; the positions of prominent scientists on the artistic assessment of bronze okimono are determined. The results of the study are a reconstructed context of the formation of a new type of bronze sculpture, highlighting the transformations that took place during the Meiji reforms in the organization of the artist’s work and aesthetic landmarks; the typology of bronze sculpture and the range of main plots are determined (characters of Shinto and Buddhist mythology, Taoist hermits, heroes of folk tales, plots from the life of peasants, aristocrats, bureaucrats). In the process of studying the collections, the attribution of a group of works, the analysis of their figurative and content structure and stylistic and technological component, the typology of signatures have been carried out. Miyao’s products have been found to be the result of the loss of the domestic market and reorientation of exports: the special role of metal products in international exhibitions, the influence of the European art system, and its organic combination with traditional Japanese crafts have been emphasized. It is shown that on such grounds as increased decorativeness, the use of elements of clothing and other details identified as Chinese, a significant part of Miyao art pieces can be considered as a modern (oriental) version of Chinoiserie, or a model of Oriental Orientalism. It is proved that bronze sculpture of small forms in artistic and technological senses is worthily represented in museum collections of Ukraine, demonstrates a variety of approaches and models, typologically can relate to both applied art and decorative sculpture of small forms. The fact of preservation of the tendency to imitate Miyao’s style among the masters of the late 19th century and early 21st century has been revealed.

Audiovisual sphere and creative industries: morphological transformations in the first quarter of the XXI century

The purpose of the article is to analyze the morphological transformations of the audiovisual sphere and the sphere of creative industries in the first quarter of the XXI century. The object is the audiovisual sphere and the sphere of creative industries. The subject is morphological transformations in the specified areas in the first quarter of the XXI century. The relevance of this article lies in the need to understand the convergence of the morphological foundations of the audiovisual sphere with the morphology of modern creative industries and their mutual transformations. 
 The methodology of the theoretical analysis in this article is based on both the whole complex of ideas related to the object of research and a specific scientific toolkit formed by the morphological methodological discourse. It is noted that in Ukraine, the school and directions of research of Ukrainian morphologists are only being formed. In the works of T. Borsunivska (theory of literary genres), I. Yurchenko (visual and morphological regularities of ornament) and some others, only certain local aspects of morphological issues were considered. The authors of the mentioned article also published works related to the principles of the functioning of the morphological system of audiovisual art in the modern age, its formation, etc. The article takes into account the concepts of post-industrial society by D. Bell, the concepts of information society and society of network structures by M. Castells. interesting concepts of “creative economy” by J. Hawkins, “cultural economy” by D. Throsby and A. J. Scott, “flowing modernity” by Z. Bauman, etc.
 The results. 1. Periodization of morphological transformations of the first quarter of the XXI century, which included two stages — from the 2000s to the 2010s — changes at the stage of “primary” digitization; from 2011 to today — at the stage of “secondary” digitization. A comparative analysis of these changes in both spheres of the West and Ukraine in the temporal dimension shows that in our country there is a certain delay in “secondary” digitization, both for objective reasons (the COVID-19 pandemic; the Russian-Ukrainian war) and sub-objective (insufficient development of the digitized Ukrainian environment). However, Ukraine strives to overcome these shortcomings. 2. The conclusion that in the temporal dimension both spheres, both in the West and in Ukraine, were morphologically structured almost synchronously, although they had different morphological sources of this structuring 3. The conclusion that in the spatial dimension, the transformations touched on the level of formation — changes in the “boundaries” of the “internal” and “external” space of both audiovisual artistic form and creative practice; at the level of species and genre creation — in a significant strengthening of the non-hierarchical nature of both spheres (and therefore turbulence) and an almost complete transition to a network type of functioning. There is also an active convergence of the morphologies of both spheres and the strengthening of mutual influences between them.
 The scientific novelty of the research lies in the fact that the morphological transformations of the modern audiovisual sphere and the sphere of creative industries are studied for the first time. A comparative analysis of these changes between the West and Ukraine was made. The analysis was made based on the temporal and spatial existence of both morphological systems.
 The practical significance of the article lies in the fact that the scientific analysis made allows us to identify the phases of the lag in both of these spheres in Ukraine from the European ones, and to determine on its basis strategies for overcoming this lag in the future.

Accessing Psychophysical Identities through Russian Martial Arts in actor training

When teaching acting and movement in the university classroom, I often encounter a tension between training students in specific skills while simultaneously encouraging them to embody their psychophysical identities in relation to gender, race, class, age, and (dis)ability. In response to this tension, I apply my training in the ROSS system of Russian Martial Arts (RMA) to the acting and movement classroom. RMA exercises offer blueprints for self-exploration rather than formally structured patterns, prompting students to develop perception of their own bodies and minds, as well as those of their partners, while encouraging improvisation and adaptation. Students can practise at a range of intensities, from gentle and exploratory (Softwork) moving towards aggressive and outcome-focused (Hardwork). Further, students enter the training from their existing physical capacity and adapt, develop, and refine skills for playing committed action and sending/receiving impulses with a partner. Informed by the work of Ben Spatz, Ellis Amdur, and Sara Hendren, I will analyse how these RMA exercises develop specific psychophysical skills relevant to the training of actors while simultaneously inviting students to engage their social and artistic identities. I will place these exercises in conversation with theatre-based trainings, including the Six Viewpoints, the Acrobatics of the Heart, and the Michael Chekhov Technique. I argue that the open-ended nature of these exercises builds greater accessibility within existing performance pedagogy, opening the acting and movement classroom to a diverse community of performers.

CULTURE IS A CERTAIN LEVEL OF HISTORICAL DEVELOPMENT OF SOCIETY, HUMAN CREATIVE POWER AND ABILITIES

Culture is a set of symbolic devices and works that define human activity and the importance of this activity. Culture can be manifested in activities such as music, literature, visual arts, architecture, theater, cinematography, and lifestyle. In anthropology, the term “culture” refers to products and their production, aesthetic meaning, and social relations connected to these processes. In this sense, culture includes art, science, and spiritual systems. Culture is a certain level of historical development of society, human creative power and abilities. It is expressed in various forms of people’s life and activities, as well as in the material and spiritual wealth they create. The concept of culture is used to explain a specific historical period (ancient culture), concrete society, people and nation, as well as specific areas of human activity or life. In a narrow sense, the term culture is used only in the sphere of the spiritual life of people. Culture comes from the Arabic word madina (city). Arabs divide people’s lives into two types: one is Bedouin or desert life; the second is called cultural life. Bedouins are nomadic peoples living in the steppes and deserts, culturalism is used for peoples who live in cities and have their own way of life.

Ensemble of Support Vector Machine and Ontological Structures to Generate Abstractive Text Summarization

Automatic summarization systems are much needed to lessen the information overload which is being faced by people due to exponential growth of data on World Wide Web. These systems choose the most significant part of the text from a single document or multiple documents and present the compressed surrogate form of the complete information which was intended to be conveyed. In this research paper, we propose an approach to generate summary from a given text first by extracting the most relevant sentences and then making further concise by creating ontological structures of these sentences and then generating the abstractive summary from these structures. Our proposed system is evaluated with DUC 2002 data set and it is found that the performance of this system as evaluated using ROUGE-1 is 58.175 which is better than other state of the art systems. The values reported in the experimental process of the research report the significant contribution of this innovative method.

POESIA ROMÂNTICA E O SISTEMA DE ARTE

ABSTRACT This paper is an attempt at connecting the emergence of second order observation in critical philosophy with the theory of aesthetic autonomy as developed by Early German Romanticism. In outlining the genesis of an autonomous art system from the reception of critical philosophy, my intention is to show how those apparently overly hermeneutical philosophical developments relate to the birth of a system of production and reproduction of artworks, which – as I will argue – are the very materialization of the system’s code.

College Student’s Culture from Mappi As A Source of Elementary School for Social Science Learning Based on Local Wisdom

The research aims to describe the local wisdom possessed by college students and analyze the college student's local wisdom system with elementary social studies learning based on local wisdom. This study uses a qualitative approach with the research subjects of Class E students in the second semester of the 2020/2021 academic year, PGSD Study Program, Sanata Dharma University, Yogyakarta. The study found that there was a system of local wisdom that was still attached to the lives of Mappi Regency and can be integrated with elementary social studies learning. Elements of local wisdom that are part of students and have taken root into a cultural system include elements of language, technology systems/equipment/living equipment/, economic systems/livelihoods/, industry, social/community/organizational systems, religious systems, art systems and systems knowledge. The findings of the value of local wisdom inherent in students can be integrated and have implications for elementary social studies learning. Elementary Social Studies based on local wisdom is very important to foster students' love for local wisdom and as an effort to maintain the existence of local wisdom in the midst of the swift currents of globalization.

Образ музыки как феномен культуры

The article considers the art of music as a means of human self-realization in a historical retrospective from the era of Antiquity to the present. Revealing the phenomenology of musical art through a philosophical and cultural approach, the authors focus on the change of cultural epochs, which allows us to consider culture and music as a means of human self-realization. In this article, in this context, the image of music as a cultural phenomenon will be considered, which will require disclosure of the specifics of music as a special type of artistic activity, determining the place of music in the system of arts, as well as determining the essence of the cultural phenomenon. As a result, the authors come to the conclusion that music, as a multidimensional reflection of the phenomena of reality, constantly absorbs the entire cultural experience of mankind and, processing it with its own means, performs a special synthesis in this experience, which allows us to consider it as a cultural phenomenon.

Ukrainian Traditional Circus in Today's Reality: Between Formation and Abasement

The article is dedicated to modern Ukrainian circus art. Ukraine has a very powerful circus school, represented by highly professional specialists in all the leading genres of circus art. The problem of the traditional circus’s existence is actualized in the face of the challenges of modern society. The fact that a traditional circus is possible only if it contains the animal training genre is emphasized, i.e. use of animals in circus shows. The importance of analyzing the issue solely on the example of state stationary circuses (Ukraine has seven such organizations today) is emphasized, i.e. on the example of circus institutions that own buildings and conditions for animals standing, providing them with the necessary veterinary care, feeding and the necessary regime of keeping. The main challenges of our time are given that threaten the existence of animal training as a genre of circus art: COVID-2019, which made circus performances almost impossible as an element of mass entertainment events due to quarantine restrictions, the Russian-Ukrainian war, which destroys, among other things, the circus industry, the bill about the prohibition of the use of animals in circuses, which threatens the existence of the traditional circus as a whole. The debatable nature of the problem is emphasized, the presence of moral, ethical, legal and economic components of the issue is emphasized. Circus art nowadays can rightfully be considered one of the most advantageous components of the system of performing arts in Ukraine, despite the fact that it has quite a lot of controversial, debatable aspects. Even the classification of this phenomenon has always caused difficulties: whether to consider the circus a sport or an art, what is its place in the system of arts, whether to recognize circus science as an independent field of knowledge.

Art, Objects and Belief Systems Among the Wangoni of Tanzania

This article is from a study that investigated the interplay among art, ritual objects, and belief systems through which the Wangoni people worshipped their God prior to missionary and colonial interventions. The study focused on the significance and implication of art on paraphernalia such as household tools and personal belongings as ritual objects that were commonly evoked during worship or ritual activities of the Wangoni. The ritual theory informed the study’s framework including its methodology, data collection, analysis and presentation, and the discussion of the findings. Using document analysis, interviews and observation to collect data, the study found that artistically-made objects or tools had a special place in the traditional religious practices and lore of the Wangoni. The Wangoni employed personal belongings and objects of deceased family members to establish contacts in the ancestral realm, as their intermediaries before God. It was also established that in the process of making religious-inspired tools or objects, most Wangoni patrons insisted on the artistic excellence of such objects and tools. It was believed that, firstly, art would increase the uniqueness of the object and signify the status and power it symbolized; and secondly, art would help to inculcate a sense of sanctity of the object or tool depending on its aesthetic outlook associated with the Wangoni’s beliefs in the existence of God in their worship or ritual practices.

Онтологические основания музыкального творчества

In the system of classical arts, music has always been perceived as a human actional breakthrough to understanding the Universe. The musical language, considered as a cultural universal, is the basis of intuitive cognition, a felt view of the axiological unity of Truth, Goodness and Beauty. The article offers an analysis of the formation of the main philosophical theories of the ontological nature of musical creativity in their historical continuity. In the history of ideas, the phenomenon of musical creativity has been perceived as a special kind of revelation. This reveals the obvious importance of the aesthetic approach in understanding the transcendental world; the objectified connection of man with ontological processes. Modern theories of universal evolutionism represent the development of the Universe as a single system based on the unity of its laws. It is in our time that comprehension of the essence of musical creativity opens a fundamentally new page in the philosophical understanding of the centuries-old history of music. The key point is the idea of the Μελῳδός aspiration to the Λόγος, the tendency to move from particular theoretical constructions and critical assessments to considering the phenomenological foundations of music, fundamentally presented, in particular, in the works of A. Losev and T. Adorno. In the XX century, there was an obvious surge in the formulation of generalizing musicological concepts, and it was in the XX century that the philosophy of music received qualitatively new worldview foundations for its comprehensive interpretation. In this respect, the study of the epistemological nature of musical creativity has reached, it would seem, its peak. However, comprehension of the investigated theories allows us to draw conclusions only about the possible approximation of a true understanding of the essence of musical creativity as a special cognitive practice. This turns out to be possible on the methodological basis of cumulative generalization, taking into account the religious, aesthetic, cultural, psychological, educational and other approaches in comprehending the value of the “world of sound”.

Особливість і специфіка кераміки і відмінність її від інших мистецтв

The author of the article considers the features and specifics of ceramics. The difference between this art and others. Observes the historical path of development of ceramics, technical and technological capabilities of creative ceramics, features of modern ceramics. Ceramics is also considered as a special kind of art, the creation of various works of art thanks to this technique. The qualities of ceramics inherent in the creation of works of monumental and decorative art, sculpture, design, installations, plastic possibilities of technology, its expressiveness and a wide palette of colors when using glaze are considered. The work is addressed to scientists, employees of the system of higher art - pedagogical education, students.

The Kalaripayattu Salutation: Movement Makes Meaning

Vanakkam is the ritual salutation performed at different stages during the learning and practice of kalaripayattu, the martial arts system of Kerala. All vanakkams are united by their devotional character despite using expressly martial movements such as kicks and blocks. At the same time, there are differences in style, structure, and the interpretation of symbolism and significance even among Hindu kalaris, with even further greater variation in the vanakkams used in Muslim and Christian kalaris. Moreover, each weapon of the kalaripayattu form has its particular and specific vanakkam. This article uses the conceptual terms in the Natya Shastra, natya dharmi (what is suitable for the stage) and loka dharmi (what is suitable for daily life), introducing a very early binary of categories as separate, not interchangeable, classifications of movement. It looks to Maxine Sheets-Johnstone’s ‘From Movement to Dance’ as she examines ‘how meaning emerges in dance’ to decode the process of representation as it applies to the kalaripayattu vanakkam. It then goes on to analyse vanakkams through their shared choreographic structure in order to show how context affects the way movement vocabularies are read. How does a kick transcend its ordinary signification and take on ritual meaning, and how is this meaning influenced by Islam, Hinduism and Christianity?

Curating in the Dark

The last forty years have seen substantial market attention being directed towards the aesthetic practices of Black Africanartists. Causing an exponential rise in expenditure on Black cultural production circulating in the global economy, stimulated by neoliberal interests seeking to capture extant vernacular of Black African subjectivity. Such particularistic articulations of Black subjectivity have, over time, become commodified—instrumental to their commodification has been the removal of thesepractices from the cultures in which they were inherited (Gilroy, 2000:249). This paper delves into the machinations of this trend and interrogates by means of critical speculation how nascent curatorial constructs and discursive models may engender alternatives for engaging with Black modes of artistic production. The paper proposes a method of ‘curating in the dark’, a speculative, multi-vocal dialogic praxis and non-linear approach that seeks to intervene into bankrupt models of curating or engaging with Black art. Curating in the dark is geared towards expanding the scope of what we understand Black art to be in the spectrum of current global artisticpractices, and what it can also still become. Furthermore, this avowedly speculative inquiry seeks to disempower the neoliberal art system’s modalities of capturing Black artistic practices and cultural patterns in the present.

Art Experiment as an Implementation of Innovations

Art is an integral, functional and impact model for the iterations of the artists, their creative intentions, self-cognition, and self-realization. Within this process, the artistic self-cognition is linked to the empiric experience, experiments, and searching for the new artistic methods ofrevealing the idea and context of the art object. Experimental modeling and implementation of innovations define the direction of changes in art that include the plot, form orimage, aesthetic reception, and general tendencies. On the turn of the 20th century, fundamental changes took place in the understanding of art. During this period, the range of art practices expanded essentially. Experimental spirit prevailed in the modernist practices; this fact prompted the genesis of new art systems and caused the heuristic process of understanding, interpretation, development, and functioning of art. The art principles and approaches of the postmodern era were characterized with the variety of multiple interpretations of the phenomena of past and present. By the means of experiment, the artists widened the boundaries of art, appealed to the new technologies, used different media ortheir synthesis that eventually caused the annihilation of the type specifics of the art objects. The aim of the article is to investigate the new approaches to modeling the experiments in Ukrainian painting of the late 20th and early 21st centuries as the implementation of innovations. The research methodology is based on the systemic, structural and functional, comparative and historical, and hermeneutic methods