Works Of Art Research Articles

Isolation Journal: Remote Interactions in the Time of the COVID-19 Pandemic

ABSTRACT This paper discusses the development of artistic collaboration during the global lockdown, related to the COVID-19 pandemic. The art work under study involves the author’s practices of ecological sound art and intercultural collaboration in collaboration with Canadian composer and improviser John Oliver. A primary outcome of this work was the album Isolation Journal, released in 2020, in the midst of the pandemic. One feature of Isolation Journal was how it revisited site-specific recordings made in Vietnam, on the countryside north of Hanoi, for an installation made by Östersjö in collaboration with Nguyễn Thanh Thủy and Matthew Sansom [Östersjö, Stefan, and Thanh Thủy Nguyễn. 2016. “The Sounds of Hanoi and the After-Image of the Homeland.” Journal of Sonic Studies 12. https://www.researchcatalogue.net/view/246523/246546]. Through remote interactions, and by building a complex sampler instrument using Östersjö's recordings of Aeolian đàn đáy, a traditional Vietnamese lute, as well as field recordings from the site, Oliver and Östersjö created the album Isolation Journal through remote interaction. This in turn became a fundamental building block when the author's Vietnamese/Swedish group The Six Tones took the initiative to develop a scene for telematic performance at Manzi Art Space in Hanoi. This series started out with a concert with John Oliver, The Six Tones and guest performers from Hanoi in July 2020. Building on audio and video documentation, as well as on qualitative interviews with the participating co-performers, an analysis of the emergence of discursive voice [Gorton, David, and Stefan Östersjö. 2019. “Austerity Measures I: Performing the Discursive Voice.” In Voices, Bodies, Practices: Performing Musical Subjectivities, edited by Catherine Laws, William Brooks, David Gorton, Nguyễn Thanh Thủy, Stefan Östersjö, and Jeremy J. Wells, 29–79. Orpheus Institute Series. Leuven: Leuven University Press] is drawn from these two internally linked artistic projects. The paper develops the analytical framework of tele-copresence, a synthesis of the contrasting concepts of telepresence and copresence, as a means for analysing the virtual presence which emerges through such remote musical interaction.

Geniusz rozkładu. Nikołaj Bierdiajew wobec sztuki Pabla Picassa

Picasso occupied a very special place within Nicolai Berdyaev’s philosophical considerations. What motivated him to assess avant-garde art was an exhibition at the art gallery owned by Sergey Shchukin in 1914. The Russian thinker became personally acquainted with the exhibition. In his attitude towards Picasso’s art, Berdyaev shows the universal category of assessment which he had applied earlier to random artistic phenomena. The philosopher gives avant-garde art the status of the verifier of spiritual changes, at the same time pointing to the evolution of people’s attitude towards both the surrounding reality and themselves. By paying so much attention to the works of the Spanish artist, Berdyaev formulates a thesis concerning the spiritual crisis of the culture occurring in statu nascendi. That is to say that he perceives avant-garde art as, on the one hand, the foreshadowing of inevitable socio-political changes and, on the other hand, a graphic equivalent of the spiritual changes which are about to happen. In the role of category which should present the direction of assessing not only Picasso’s works, but also, in a broader sense, the historical and cultural changes, Berdyaev uses the terms of crisis, freedom, beauty, humanism and spirituality. The Russian philosopher considers Picasso a helpless exposer of illusions of materialized and synthesized beauty, whose paintings are the proof of the crisis occurring in art, self-awareness and, in a broader sense, also within humanity.

Tendencje postmodernistyczne w ukraińskiej sztuce okresu transformacji i pierwszego dziesięciolecia niepodległości

The topic of the article is the presentation of artistic trends that appeared in Ukrainian art at the turn of the 1980s and 1990s and which are described as postmodern. These include: trans-avant-garde painting, performative art, media art, and conceptual art. All of them are an expression of the newly gained freedom, they choose the oppressive past as their main adversary, but they are also a form of reflection on new cultural and intellectual phenomena that appeared in Ukraine during this period (mass culture, “new spirituality”). The point of my article is not a detailed analysis of the works of individual artists, as I only indicate selected trends and directions.

The role of public art has changed in recent times: a study

Public art which falls under the institutional category of visual arts primarily focuses on audience engagement and public representation. Additionally, there are other types of art in public settings that are designed for audience participation. The term Public Art means to those works of art commissioned and sponsored, monuments, memorials, and civic statues and sculpture installed in physical public domain by the Government and agencies and organization, which are especially significant within the Art World. The term is sometimes also applied to include and art which is exhibited in a public space these public art are basically symbolic, imaginary and illustrative representation on the Historical, political and cultural and civic values of the state. While speaking of public sculptures we often speak in terms of its artistic identity i.e. we always look at it and recognize merely as a piece of art only. We cannot undermine its importance in day to day social, cultural and political life. The presence of these pieces of art in any society holds a cultural recognition of that particular society. These are like the index or contents of a book that are sufficient enough to explain the entire subject matter. These public sculptures have become a part and partial of our day to day life. Since the colonial times to the modern era, in India, public art has undergone numerous changes. The institutions of public art and the public realm, media, genres, and forms of public art have all changed over time. Since the last two decades, site-specificity, public engagement, and process-based activities have been the main focuses of art in public spaces. Two types of public space can be distinguished. The first is the actual public space as a location, site, piece or thing. The second is the discursive public space, which is an abstract/conceptual area created briefly as a result of private individuals coming together to talk about or share important and light-hearted subjects. According to Habermas, this discursive space is the public sphere, which includes gatherings and encounters of people in public places like coffee shops, streets, community centers, and parks.

Post Wow, is Less More? A Critical Approach to Animated Mapped Projection for Art Historical Knowledge Sharing The Twentieth-Century Mural as a Case Study

This paper critically considers digital curatorial practices, increasingly used both in commercial and museum settings, involving the animated mapped projection of digitised works of art. It draws attention to the problematic and common misuse of the term ‘immersive’ to designate such practices and examines their effectiveness for art historical knowledge sharing and meaning making. Through first-hand observation of a number of such exhibits, the paper considers the lessons that can be learned from them and how they would specifically apply to a corpus of twentieth-century frescoes that make up the study object of a research project on art historical digital curatorship.

Inspirations, techniques and institutionality. Animation in Józef Robakowski’s experimental oeuvre

Józef Robakowski’s cinematic oeuvre functions mainly as an experimental form of audiovisual art exhibited in gallery spaces. In his avant-garde activities this intermedia artist, associated with the Film Form Workshop, often used techniques of animated film, as is evidenced by the author’s textual analysis of the films: Market (1970), Test 1 (1971), Test II (1971), Dynamic Rectangle (1971), 22x (1971), Impulsator (2000), Impulsator VI (2001), Attention Light! (2004). The analysis focuses on the techniques used by Robakowski as well as his potential or explicit inspirations. Creating experimental animations, often in the spirit of “pure film”, the avant-gardist has been appropriated by other scholarly disciplines such as art history or new media. The aim of this article is to include Józef Robakowski in the discourse of film studies: to demonstrate his stance as an animator over the course of his artistic work to date, but above all to place him in the history of Polish animated film.

A study on the portrayal of mythological hybrid forms in modern Indian art

Indian hybrid mythology, its historical context, its cultural connotations, and the ways in which Indian artists depict anthropomorphism in their works of Indian art and culture. Through an analysis of the artists' histories, ideologies, and methods, our research reveals how they have balanced innovation with tradition in their works. It demonstrates how artists use cultural themes, mythology, and folklore as inspiration to depict the intricacies of identity in society. The dissertation explores the impact of Indian hybrid forms and how they subvert societal norms that balance modernity and heritage in our culture. The research provides a thorough understanding of the rich Indian form and its significance on the international form arena by examining the techniques and symbols utilized by for designers and delving deeply into difficulties. In general, this study advances knowledge about hybrid form, its variety in India, and its relevance in the contemporary art scene.

Problems of occurrence, termination and protection copyright for drafts of official documents

The authors consider the peculiarities of the legal regime of official documents and their drafts. The article proposes the concept of a work as an object of copyright, highlights the features of the work. The authors substantiate the reasons for the lack of legal protection in relation to information messages, works of folk art, official documents, state symbols and signs. Based on the study of legal doctrine and judicial practice, the authors identify the legal regimes of draft official documents, determine the conditions for the lawful use of such projects. The authors conclude that in the case of sending a draft official document to the authorized body, the object is doubled from the moment the project begins to be used. After the adoption of an official document by the authorized body, such a document is excluded from legal protection and is not recognized as an object of copyright. The authors note that the withdrawal of official documents from legal protection does not exclude the possibility of creating protected works on their basis, in particular, composite, derivative works (collections, translations, etc.), for which an independent copyright of compilers, translators and other persons arises.

ВКЛАД ЖАНА КАРЗУ В ТЕАТРАЛЬНО-ДЕКОРАЦИОННОЕ ИСКУССТВО ФРАНЦИИ

In the 50-60s of the last century the famous French-Armenian artist Jean Carzou (Garnik Zouloumian, 1907-2000) created seven works of theatrical-decorative art for musical and dramatic theaters of France, having designed Jean-Philippe Rameau's opera-ballet «Les Indes Galantes», Adolphe Adam's ballet «Giselle», Jean Racine's drama «Athalie», Jacques Offenbach's operetta «La Périchole», etc. The aim of this article is to present concisely and analyze Carzou's theatrical-decorative work on the basis of archival materials.For stage designs of the productions by venerable directors and choreographers of France of the time, like Maurice Lehmann, Roland Petit, John Butler and others Carzou worked for a long time, combining their vision with his own unique aesthetics. These vibrant, highly artistic works were a success, in some cases contributing to the polymodal synesthesia requisite for theater. These works have graced the stages of the world's most prestigious theaters - Grand Opera, Comédie Française, La Scala...

탐색, 표현, 감상의 통합적 아동미술 수업이 예비유아교사의 창의성과 미술감상능력 및 미술교수효능감에 미치는 효과 및 변화과정 탐색

Objectives This study was conducted to find out the effect of integrated children's art classes of exploration, expression, and appreciation on the creativity, art appreciation ability, and art teaching efficacy of pre-service childhood teachers. Methods Participants in the study were 21 students who took children's art courses in the second semester of 2023 among H University students located in D city. This class was held for a total of 45 hours, 3 hours per week. The collected data included pre- and post-survey questionnaires on creativity, art appreciation ability, and art teaching efficacy, art portfolio, and lecture evaluation forms during and at the end of the semester. The results of quantitative analysis (paired samples t test) and qualitative analysis (open coding method) were as follows. Results First, the integrated children's art class of exploration, expression, and appreciation was effective in enhancing creativity, and it was found that it was effective in alternative solutions and original flexibility among sub-areas. Specifically, imagination and creative thinking skills were developed through the exploration of aesthetic elements in life, and my own creative expression ability was developed through cooperative art activities and work appreciation. Second, this class was found to be effective in enhancing the ability of pre-service childhood teachers to appreciate art. Specifically, cognitive appreciation ability was developed through the expansion of art concepts and knowledge, and work appreciation experience centered on aesthetic elements. Third, this class was found to be effective in enhancing the efficacy of art teaching, and in particular, it was found that it was effective in enhancing the individual efficacy of art teaching. Specifically, teaching ability was developed through knowledge and understanding of early childhood art education and experience in art practice, and teaching efficacy was developed through direct and indirect teacher role experience. Conclusions Therefore, it can be seen that it is meaningful to apply an integrated art education class of exploration, expression, and appreciation to the pre-service teacher training course to improve creativity, art appreciation ability, and art teaching efficacy.

Съвременното изкуство като феномен в ерата на аксиологична несигурност

Contemporary art is in a state of value collapse, which is the result of different factors: the process of art and reality becoming one, the influence of information technologies, globalization, and commoditization. On the one hand, the globalizing world finds it increasingly difficult to find intersections, which makes it impossible to establish collective and shared values and norms, and on the other hand, voluntary living in simulated informational realities breaks the connection with reality, leading to living instead in the giant simulacrum of hyperreality. The universal commoditization and the turning of art into a fetish create an anti-cultural situation in which there are no areas left outside of monetary exchange. All these factors influence the erosion of artistic values. The final stage of this process is sacralization through destruction and immortalization through the annihilation of the work of art.

За фантастичното/вълшебното в приказния свят на Николай Райнов: издигане над човешкото и завръщане към него

The article examines the dual nature of the fantastic and the magical in the fairy-tale world of Nikolay Raynov. On the one hand, it thrives in a universe completely different from reality. But, on the other hand, it is not a refusal to accept the human situation but rather a way to enrich this situation. The human is situated on the horizon of an ethical imperative that predetermines the fate of the characters. It stands to reason that authorization is a step from magical to fantastical. Parallels have been sought both with Propp's morphology and with Bettelheim's psychoanalytic optics. The existential choice of the heroes turns them into warriors of light and bearers of light, which, as a manifestation of the divine in man, is a key concept in the philosophical, theosophical, and artistic works of the prominent Bulgarian classic.

OIKONIMICON OF LESYA UKRAINKA’S DRAMATURGY

The article analyzes the semantic features of the oikonyms of Lesya Ukrainka’s drama. The main focus is on connotations acquired by oikonyms in the artistic expression of Lesya Ukrainka. Oikonyms, i.e. proper names of settlements, are historical and cultural heritage, since they reflect historical events, life, culture of the people, as well as their customs and traditions. Semantic, derivational and stylistic features of oikonyms depend on the individual characteristics of the author of the work, genre specificity, time of creation, literary direction and method. The purpose of the article is to analyze the functional load and semantic content of oikonyms that occur in Lesya Ukrainka’s dramatic works. The object of the research is the toponymic vocabulary in Lesya Ukrainka’s drama, the subject is the semantic and functional features of oikonyms as a component of the artistic and figurative system of the work. During our research, a number of methods were used, among which the descriptive method (used to analyze factual material), the quantitative counting method (to indicate the number of oikonyms in the work of art), and elements of the component analysis method, have a leading role. Oikonymicon in the artistic space of Lesya Ukrainka’s dramas is an active artistic technique that illustrates the author’s voice, the author’s concept of the characters and of the work in general, an important factor in character formation and plot development. And even the absence of oikonyms in the context of drama or its muted function becomes the manifestation and shade of the most important thing that the dramatist lays into the artistic background of the work. This helps reveal other problems that the author considers too important and for the sake of which gives life to her poetic masterpieces in pain and exhaustion, which suffered such a difficult stage fate and which are only now being read to full extent by a Ukrainian reader. We define the semantic study of the oikonymy of modern writers as the further direction of our exploration.

LINGUISTIC AESTHETISM IN NEOREALIST UKRAINIAN FICTION OF THE BEGINNING OF THE XX CENTURY

The purpose of the article is to analyze the linguistic aestheticism of neorealist works of art of the beginning of the ХХ century. Attention is focused on certain tasks: to determine the positions of neorealism in Ukrainian literature; to prove the legality of consideration of linguistic aestheticism in neorealist works; find out the linguistic specificity of neorealism; to reveal the features of neorealist aestheticism in the language of the artistic text. The works of Ukrainian artists and scientists of the ХХ century were chosen as the object of research. The subject of the study is to find out the specifics of the linguistic and aesthetic-worldview foundations of neorealism. The theoretical and methodological principles of the research are based on some concepts and ideas of domestic philologist scientists O. Potebny, O. Biletskyi, L. Bulakhovskyi, D. Chyzhevskyi, I. Franko, Lesya Ukrainka, M. Zerov, M. Kodak, V. Lesyn and O. Pulynets, V. Fashchenko and others. The work uses comparative, descriptive, comparative, and structural research methods. The scientific novelty of the work lies in the fact that, for the first time, attention is drawn to the linguistic aestheticism of neorealist works of Ukrainian authors using the examples of linguistic and stylistic concepts of well-known linguists, literary critics, and artists. The paper offers a review of theoretical explorations and positions of well-known domestic scientists on linguistic aestheticism in neorealist Ukrainian fiction of the beginning of the ХХ century. Based on these considerations, one can turn to the artistic word in the author’s text, which reveals the unique beauty and mystery of human life, movement in the world, the author’s worldview and worldview through the magic of words. The prospects of researching the linguistic aestheticism of neorealist works of art of the beginning of the ХХ century provide an opportunity for the development of scientific horizons and experimental freedom in investigative creativity.

VOCABULARY TO DENOTE SEASONS IN THE SEMANTIC-FUNCTIONAL ASPECT

The relevance of the article lays in the need to study the functioning of lexemes denoting seasons in literary speech and in the need to establish the specifics of their existence in the works of Ukrainian artists. The purpose of the study is to find out the peculiarities of the functioning of seasons’ names as representatives of the temporal space of poetic texts. To achieve this goal, it is necessary to solve the following main tasks: to analyze the vocabulary to denote seasons in poetic works in semantic, functional and stylistic aspects; to identify common and distinctive features in the use of this vocabulary in the selected collections. The object of the study is the vocabulary denoting seasons, and the subject is their functioning in the Ukrainian poetry of the Sixtiers and contemporary authors. Five poetry collections served as the source material for our study. The main research methods used in the work are: component analysis to study the semantics of words denoting seasons; contextual interpretation method to determine the peculiarities of the functioning of the vocabulary denoting seasons in expressing a theme and an idea; comparative method to compare the functional and stylistic parameters of the analyzed vocabulary in artists’ works. The functioning of vocabulary to denote seasons in the collections of Mykola Vinhranovskyi, Lina Kostenko, Vasyl Symonenko, Bohdan Melnychuk, and Svitlana Shabat-Savka has both common and distinctive features. It implements direct and figurative meanings and is the basis for the creation of various tropes. It has been established that M. Vinhranovskyi, L. Kostenko, and S. Shabat-Savka actively use seasons’ names and their derivatives. V. Symonenko and B. Melnychuk rarely use such temporal vocabulary to realize a theme and an idea. The prospect for further research is in the following observation of stylistic means relevant in Ukrainian poetry.

Implementation of the Cooperative Learning Model in Arts and Culture Subjects in Elementary Schools

This research aims to determine the planning, implementation and impact of the jigsaw type cooperative learning model on class V arts and culture subjects at SDN 1 Gumantar. The research subjects were the principal and teachers of arts and culture subjects. The research instruments are in the form of observation guidelines, interview guidelines and documentation guidelines that measure planning, implementation and impacts produced using the jigsaw type cooperative learning model in arts and culture subjects. Data collection techniques in this research used observation, interviews and documentation. Data analysis techniques are carried out using Data Reduction, Data Display (data presentation), Conclusion Drawing/Verification (drawing conclusions and verifying). There are various kinds of learning models that can be implemented in a learning activity. One of them is the jigsaw type cooperative learning model which is a learning model where students can learn to collaborate, work together and be responsible for understanding certain material and conveying it to their group friends. So that when implementing the jigsaw type cooperative learning model in arts and culture subjects, learning activities can indirectly foster the value of student cooperation. The objectives of this research are as follows: 1) to describe the planning of the jigsaw type cooperative learning model in arts and culture subjects, 2) to describe the jigsaw type cooperative learning model in arts and culture subjects, 3) to describe the impact of the jigsaw type cooperative learning model on The 11th unit of visual arts material culture lesson is making works of art from recycled household waste materials.

Culture, Development and Adolescence – towards a Theory and History of Adolescence

The present study identifies specifics of adolescence by reconstructing the cultural-historical process of the emergence of this age, which is essentially connected to modernity, by means of two epochal works of art from the years 1719 (Daniel Defoe’s Robinson Crusoe) and 1774 (Johann Wolfgang Goethe’s Die Leiden des jungen Werthers) which are reflected upon using terms derived from development theory. This study bases its conclusions on a summary theoretical model of adolescence as the awakening of subjectivity, with critical consideration given of current tendencies in dealing with and shaping adolescence. The potential associated with this stage of life as represented amid the unleashing of modernity seems to be decreasing again in its neoliberal late phase. It seems instead to be replaced by empty stagings and conjuration of creativity.

TA: Collaborating on Diacritical & Competent AI Art – Part 2

In this second part of this two-part interview, AI-artist TA talks to us about his understanding and experience of AI-art interacting with the world. TA discusses different ways AI-art generation both creates and requires its own unique knowledge basis, and the need for human touches to take that knowledge and make it into a diacritical work of art. He discusses the novel challenges AI-art poses to cultural and social boundaries. TA’s extensive experience creating artwork for scientific projects further guides his discussion of how AI-art and professional science research intersect, both artistically and within academic publications. TA concludes the interview with a discussion of AI replication, artistry, and the value of AI-art.

The work of art in the age of AI reproducibility

The work of art in the age of AI reproducibility

Long-Term Impact of a Medical School Course on the Intersection of Art and Medical History.

One recent trend in medical education is the integration of humanities into the curriculum, including viewing works of art in museums, with analysis of short-term, but not long-term, impact. We developed a course for medical students, trainees, and faculty at the Icahn School of Medicine at Mount Sinai co-taught by an art historian and a physician/medical historian that features images of great works of art to make connections between art and medical history with the following goals: 1. To encourage the students to make careful and systematic observations, describe what they see to others in the group, and exchange their views respectfully, 2. To sensitize students to the patient's experience of illness by discussing artists' depictions of patients and the impact of their illness on family and friends, and 3. To highlight milestones in medical history by focusing on artworks that epitomize the state of medical care and science at a defined point in time. We have taught the course for more than a decade and so wanted to assess whether participating in the course had a long-term impact. We created and deployed a five-question survey to 167 students and received responses from 35 of those students. 97% of respondents answered that they still think about the course, and large majorities of the respondents indicated that the course, had an impact on how they viewed works of art (91%), their appreciation of the history of medicine (89%), and their observational skills (80%). More than half the students responded that the course sensitized them to the patient's perspective of illness (63%) and had an impact on how they viewed their role as a physician (51%). Our course has had a long-term impact on the respondents across a wide range of professional and personal characteristics.