Art World Research Articles

다원예술 개념에 관한 탐색적 연구 - 한국문화예술위원회 다원예술지원사업을 중심으로

This study is an exploratory analysis of the concept of combined arts in contemporary Korea based on the definition of combined arts by artists, focusing on the ambiguity of the concept of multiple arts. 100 business applications submitted to the “2021 Combined Arts REBOOT Activity Support Project” operated by the Korea Culture and Arts Commission in 2021 were randomly extracted and the definition of multiple arts described by artists was analyzed according to the grounded theory methodology. As a result of the analysis, the concept of combined arts recognized by artists was derived into five major categories: “genre indifference,” “experiment and subversion,” “multimedia,” “simultaneous values,” and “equal and fair sense.” While existing genres tried to create aesthetic values based on specific artistic languages and expressions and maintain traditional discourse, combined arts radiated contemporary values and expanded discourse through attempts to cross experimental and innovative genres. It was pointed out that combined arts have the same direction as existing art genres in that they ultimately aim to build a new art world based on the artist's identity, but in the process, it is important to understand the specificity of combined arts in an institutional context in addition to the characteristics of the art genre in that they value post-order perspectives and attitudes such as acceptance, cooperation, connection, and equality.

A Reconsideration of Aesthetic Value and Moral Value of Artwork - An Immoralism Approach

While contemporary art, famous for its abstract form and transgressive nature, is prevalent in the artistic world, the artistic world hasnt established an objective aesthetic evaluating system that allows viewers to fully experience the aesthetic value of transgressive art, which is the most radical, offensive, and morally problematic art form among the contemporary arts. The article reviews the two traditional evaluative approaches, Autonomism and Moralism, and discusses their limitations. Then, the article introduces the concept of transgressive art and Immoralism. The author also recognizes the theoretical gap that fails to illustrate in what perspective viewers can fully understand the aesthetic value of transgressive art. The article then establishes that the moral value of transgressive art lies in the fact that moral defects can contribute to its aesthetic value if the artwork is viewed from a receptive and reflective perspective. The article is significant in filling the theoretical gap and establishing a more systematic evaluative system.

Advances in Analytical Methods for Cultural Heritage

Conservation science, also referred to as heritage science or cultural heritage science, is a unique field of scientific inquiry that addresses specific questions derived from the world of art, archaeology, architecture, and archives. [...]

Art curation in virtual spaces: The influence of digital technology in redefining the aesthetics and interpretation of art

The advent of the digital revolution and the ubiquitous integration of digital technology in art curation, have led to unprecedented transformations in reshaping the accessibility and engagement of art and heritage. This study delves into the intersection of digital technology and art curation, and attempts to explore the multifaceted and transformative influences of digital technology in curatorial practices in the contemporary art world. The research used a case study approach and investigated Google Arts & Culture and the Rijksmuseum’s Rijksstudio as prominent examples of large-scale digitalisation and digital art curation. The study aims to establish a nuanced and comprehensive understanding of art digitalisation, and how digital practices are redefining curatorial methods in the art world. Drawing from the critical perspectives concerning digitalisation, the study deliberates on the shifting paradigms of authenticity, the digital divide and the diminishing materiality of artworks in virtual environments. The findings from the study suggest that digital transformations in curatorial practices have ushered in an era of increased accessibility, and immersive user interactions with art and heritage. However, the digital curation of art manifests the emergence of a post-custodial paradigm, which is characterised by commodification of art, and decontextualisation of art and heritage.

До питання про концептипоетичної творчості Володимира Забаштанського

This article outlines the conceptual framework of Volodymyr Zabashtanskyi’s poetic work, particularly focusing on collections such as «Vaha slova (The Weight of the Word)», «Vira v liudynu (Faith in a Man)», «Zhaha zhyttia (Thirst for Life)», «Zapakh dalyny (The Scent of the Farness)», «Moia vuzkokoliika (My Narrow Gauge)», «Naikrevnisha ridnia (The Most Close Relatives)», «Nakaz kameniariv (The Stonemasons’ Order)», «Svichechkoiu slova (By The Candle of the Word)», and «Syni skeli (Blue Rocks)». The study concentrates on the peripheral aspects of Zabashtansky’s poetry, illuminating their ideological and artistic essence. Special attention is given to concepts viewed through solar motifs: the sun, stars, and sky. These motifs are projected onto the intimate world of the lyrical hero, revealing artistic and journalistic intentions and reflections related to the realization of national identity. The concepts of water and land further reinforce these themes, creating a foundation for outlining Zabashtansky’s creative evolution. They depict the essential realities of his small homeland, painting a vivid image of Mother Ukraine. The image-concept of the tree finds its highest embodiment in the concept of the family tree and the archetype of the World Tree, associated with the image of the mother, who brings the new birth of the world and rebirth, protection, and the renewal of the Ukrainian world. Conversely, the concept of flame and related images such as «fire», «blaze», «embers», and others hold significant contextual potential. These images are particularly crucial when transformed into the universal symbols for Ukrainian poetry: the fire of the soul and the fire of the word, which gained prominence at the end of the 19th century. While the industrial perspective is generally not characteristic of Zabashtanskyi’s artistic world, it sporadically appears in the 1980s. This is especially evident in the image-concept of metal, where its ideological and artistic role manifests in the motif of strength — physical, psycho-emotional, and creative. This motif serves as a critical factor in shaping the author’s figure against the backdrop of his era.

Wearing: Art, the Body, and Distance

Why are the objects we place on our bodies not considered art? In this paper, I argue that distance between an object and the body is a criterion for a craft object to become an art object. Art objects are kept at a distance from most bodies. The distance is tightly maintained by the art world and used within the art world to control art and access to it. In the process, this distance defines an object as art. I present the case of jewelry – objects that do not transition from craft to art and are generally not accepted as art by the art world. I argue that this is because jewelry necessarily requires closeness between the body and the object, a violation of the rules of art. The argument I present here is relevant to questions of fashion and art.

Artistic World Model as a Subject of Scientific Research

Artistic World Model as a Subject of Scientific Research

EXPLORING THE IMPACT OF ARTIFICIAL INTELLIGENCE IN THE VISUAL ARTS: A COMPREHENSIVE STUDY

Human thinking first appeared through visual art. From the early cave man paintings to this modern-day AI-generated image and deep learning algorithms, the world has developed. Artificial intelligence (AI) has impacted the visual arts in various ways, and it has influenced more and more as a transformative force in many fields. Through this study, the complex link between artificial intelligence and the visual arts is explained by analyzing the effects, the outcomes, and the future paths. The study explores how artificial intelligence has transformed the production, interpretation, and consumption of art. It also shows how AI algorithms are employed by artists to generate imagery. This study, along with the analysis of surveys, experimental initiatives, and different artworks, explains the impact of artificial intelligence in the world of visual arts. It also tells how artificial intelligence has swayed historical mythology and its sociocultural ramifications. With an interdisciplinary approach, this study integrates the understanding of computer science, art history, and cultural studies and offers a subtle analysis of the profound impact of AI on the visual arts. Finally, this comprehensive study provides an insight on how artificial intelligence has influenced and impacted the visual arts and about the evolutionary technological potential of it in the future by providing a deeper and better understanding of the growing complex link between creativity and technology in modern art practices.

Eds.) Micaela Latini, Elena Tavani, Connected Images: New Paradigms for Aesthetic Experience Paradigmi, Rivista di Critica Filosofica, XLI, 3/2023.

Performativity, connection, aggregate, conflict, Stimmung and artificial intelligence are among the topics chosen by the authors of the monographic issue of scientific journal Paradigmi, Rivista di Critica Filosofica dedicated to Connected images: New Paradigms for Aesthetic Experience, edited by Micaela Latini and Elena Tavani. Numerous contemporary and transdisciplinary forms of interpretation represent aesthetic experience in this Issue. It approaches the art world with Nature and the images naturally created by animals and natural environments (Tavani), the body in motion and its intentionality represented by images (Alloa, Benjamin), the body and time in tattoo images (Vercellone), the biological world and molecular discoveries (Bredekamp), furniture objects and the image of aesthetic experience they suggest (Goehr), political and social conflicts and what they represent (Latini), and pictures of music (Pangrazi). The last essays follow this mainly focused on the digital context, artificial intelligence and the technological impact on the art world and of chiasmus in images (Diodato), political rhetoric (Fimiani), surreal image interventions in the world of artificial intelligence (Somaini) and identity and the constitution of algorithms (Eugeni).

Editoriale

The environmental and social crisis that confront our century calls to a quest for new scenarios and landscapes and a reflection on such challenge. In this issue, the question of landscape is approached from a variety of viewpoints, ranging from the more philosophical to the strictly urbanistic. Some of the essays also focus on technology and geography. It is clear that, from engineers to biologists, from architects to the players of the art world, there is a strong interest to imagine future landscapes able to generate forms of life in which one can recognize oneself, and as such more sustainable.

Proof-of-Stake Non-Fungible Tokens, the Distributed Autonomous Organization, and the Valuation of Art: A Proposal for a Nonprofit, Community Controlled NFT

Abstract This paper describes a way to use blockchain-based non-fungible tokens (NFTs) to address some fundamental failures of the art world introduced when the early-twentieth-century evolution of financial markets expanded to include objets d’art as commodities. It proposes the creation of a distributed autonomous organization (DAO) that uses domain experts’ Delphic consensus methods embedded in smart contracts to provide NFTs with meaningful nonfinancial assessments of intrinsic artistic qualities and merit. Full details of the blockchain implementation and organizational development are online, registered at https://doi.org/10.17605/OSF.IO/3DF4W with the Open Science Foundation as a large-scale participant/observer social science experiment.

The Bastard Child of Historicism? Realisms Roots in History Painting

Summary In her classic 1974 study Realism, art historian Linda Nochlin claims that by the mid-nineteenth century, realism and realism esthetics so had permeated the art world that it also had affected the academic history painters. But what if this is wrong, if it wasn’t the history painters that were affected by the realists, but rather the other way around? In this article, I will make the case that Realism, the esthetical movement of the mid-nineteenth century, had its roots in the historicism of the early nineteenth century and that the realist claims to give a truthful, objective and impartial representation of the real world, based on meticulous observation, were already present in discussions of history and how to represent history in the arts from the years around 1800. Secondly, the study is also a contribution to the research concerning how the idea and concept of history changed in the early nineteenth century.

“Me? I’m No Revolution. I’m No Heroine.” Reconfiguring the Dissident in Contemporary Polish Theater

The figure of the dissident has become one of the key symbols of political opposition to Communism in Poland, with former dissidents playing a significant role in shaping the post-socialist and liberal order. While highly visible political struggles in polarized Poland have been foregrounded in confronting the Communist and dissident past, the seemingly less spectacular and more modest attempts at rethinking and reinterpreting the figure of the dissident that has emerged in contemporary Polish theater have gone almost unnoticed. This article examines how two contemporary theatrical plays engage with the polarized political discourse in Poland by problematizing the complex and gendered experience of dissidence. The artistic and political significance of the plays is elucidated against the backdrop of conservative and right-wing tendencies in the contemporary public sphere and artistic world that redefine the broader context within which Polish cultural producers operate. Zooming in on how these performances generate new representations and meanings of the anti-Communist political opposition, the article shows how the plays offer an occasion for rethinking and reinterpreting the figure of the dissident and its troubled legacy. As they explore the fields of tension that open up between individual political commitment and the relational and collective experience of dissidence, the plays make visible how the figure of the dissident has become a tool in remaking a Communist and post-socialist past and shaping a polarized present.

Философия поэзии: проблемы изучения (обзор материалов «круглого стола»)

On October 24, 2023, as part of the scientific project of the A.M. Gorky Institute of World Literature of the Russian Academy of Sciences “Literature through Philosophical Prism: the History of Russian Lyrics in V. Solovyov’s Aesthetics”, supported by the Russian Science Foundation (RSF, project No. 23-28-00800), with the participation of the Moscow State Budgetary Institution of Culture “‘A.F. Losev House’ – Research Library and Memorial Museum” and with informational support from the journal “Voprosy Filosofii”, an International Round Table “Philosophy of Poetry: Problems of Study” was held. During the round table, the following groups of questions were discussed: 1) How do literature and philosophy interact in Russian lyric poetry from the late 18th to the early 20th century, and what are the connections between philosophical ideas reflected in contemporary philosophical concepts prevalent in the intellectual environment? How was poetry perceived and interpreted by Russian philosophers (Vl. Solovyov, N.A. Berdyaev, S.N. Bulgakov, A.F. Losev, S.L. Frank, and others), and what are the forms of influence of their philosophical-aesthetic systems on poetic creativity, including through literary criticism? 2) What are the theore­tical foundations and chronological boundaries of the existence of “philosophical poetry”? What are the similarities and differences between “philosophical poetry” and “poetry of thought”? What is the relevance and what are the epistemological possibilities of poetic anthropology, ontology, and gnoseology? 3) What are the mechanisms for generating philosophically rich symbols and mythologems in poetry? What are the teleological foundations of artistic rhythm? What function do the spatial-temporal coordinates that form the artistic world of lyric poetry serve?

The Artistic Philosophy and Cultural Connotation of Printmaking Technology — Taking Woodblock Prints as an Example

In the course of historical development, Chinese woodcut has developed its own unique artistic style through inheritance, absorption and gradual development. Woodcut is a trend in the development of contemporary diversified art. Its historical development and inheritance is not only the unique spiritual wealth of Chinese traditional culture, but also an important issue that the Chinese art world must face squarely. In the future development, Chinese woodcut prints should adhere to the excellent tradition and be applied in combination with the development of the new era.

Analysis of the Role of Augmented Reality in Bringing Works of Art to Digital Spaces

Augmented Reality (AR) has become increasingly popular in the art world as a medium for bringing traditional works of art into the digital space. This research aims to analyze the role played by AR technology in the process of transforming works of art from the physical environment into the digital domain. This approach pays attention to the technical aspects, aesthetics and cultural impact of applying AR in digital art exhibitions. This research method involves literature analysis, case studies of various art exhibitions that use AR, and interviews with artists, curators, and exhibition visitors. Qualitative data was analyzed thematically to identify emerging patterns and trends in the use of AR in artistic contexts. The research results show that AR has great potential to enrich the visitor experience in digital art exhibitions by providing interactive and contextual layers that cannot be accessed through conventional mediums. Additionally, AR can also act as a tool to convey additional narratives, broaden the interpretation of works of art, and increase visitor participation in the creative process. The research also identified several technical and conceptual challenges associated with the use of AR in art, including issues of technological sustainability, accessibility, and artwork integrity. Nonetheless, overall, this research highlights the great potential of AR in bringing works of art into digital spaces and provides valuable insights for the future development of digital art exhibitions.

The World as Allegory in Cartography Symbolic and allegorical reference systems in the aesthetics of digital cartography

This philosophical essay explores the idea of the world as allegory in cartography, drawing on the works of Hannah Arendt, Walter Benjamin, and Nelson Goodman. It argues existentially that maps are not only representations of measurable objects, but also of aesthetic experiences. It analyses epistemologically how maps use symbols and allegories as representations to determine meanings or reveal truths. And finally, it shows how digital maps today, like works of art, reflect and shape world views and how, as a medium, they are interwoven with the perception, cognition and (inter)action.

Toward a community model of scholarly editing: FAIR/CARE, research ethics, & labour visibility

Historically, scholarly editions of music have identified a managing editor and individual volume editors. Other contributors might receive an acknowledgement with a vague description of activities, with institutional support often appearing in the printed metadata. This model’s emphasis on single scholars perpetuates a myth, relying heretofore upon predominantly invisible labour. Digital editions require interdisciplinary collaboration combining musicological skills, technical skills, and infrastructural resources, thus challenging this model’s ability to endure. Moreover, digital editions proffer opportunities for reconsidering the roles, workflows, and knowledge structures involved in critical musical scholarship. Situated at the intersection of currently running and recently completed digital projects, continuously emergent tools, sociology, and philosophy, this essay reflects on the role of the editor in the digital age. Beginning with Howard Becker’s art worlds model of creative communities, it suggests a model based on FAIR (Findable, Accessible, Interoperable, and Reusable) and CARE (Collective Benefit, Authority to Control, Responsibility, and Ethics) principles and the Music Encoding Initiative (MEI). MEI affords expansive metadata recording for contributors – composers, librettists, performers, editors, researchers, funders, etc. – to a work and its embodiments, which in turn enables broader visibility and empowers greater acknowledgement of the labour involved in such projects. Alongside other digital projects, this essay pays particular attention to how these technological and team-focused concepts are at- and in-play in the Reger-Werkausgabe Online.

Integrating NFTs into Feminist Art Practices: Actualizing the Disruptive Potential of Decentralized Technology

The integration of NFT technology into the art market utilizes a two-pronged approach of decentralization and increased accessibility as an equalizing answer to rectify gender discrepancies in the contemporary art world. This is not the first time that technology as an art medium has been used as a feminist tool to disrupt the previously established status quo. Through the exploration of the 1990’s Cyberfeminist Net Art Movement, this article will discuss how female-identifying artists employ technological characteristics such as anonymity and online gender masquerading to answer the exclusionary issues affecting their art practices. Furthermore, it will examine how NFTs work to build upon the previously established revolutionary movement of the 1990s to evolve the contemporary art practices of feminist artists. Additionally, this article will address the impacts of this new digital landscape, where anonymity is preferred and algorithmic ordering is non-existent, as a more pragmatic way of creating, selling, and buying art. Finally, this article will examine how the integration of blockchain technology—entirely machine-operated and free from human manipulation—aims to eliminate the human biases of identifying factors such as gender that can be concealed or fabricated when operating in an online sphere.

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.