Artistic Approach Research Articles

A Study of the Phenomenon of the Wandering Philosopher Hryhorii Skovoroda by Means of Contemporary Visual Art

The article examines the phenomenon of the traveling philosopher of the Ukrainian Baroque era Hryhoriy Skovoroda and examines the Ukrainian mentality by means of current artistic visions within the framework of the art project "...And rise!", dedicated to the 300th anniversary of his birth. The project presented various artistic approaches to the visualization of selected aspects — from traditional narrative to abstract. The article demonstrates how the project revealed important aspects of the thinker's legacy and proved that his ideas can be relevant for understanding contemporary issues and challenges, stimulating dialogue between different generations and helping to better understand how the past can influence contemporary artistic expressions and contribute to deepening the discussion of important today's topics through the prism of Skovoroda's philosophical heritage.

Trips in “The Stranger’s Letter to the Beloved” Abu Asida Al-Baja’i: An objective study

Objectives: This study illuminates key aspects of Abu Asida al-Baja’i's travel literature, "The Stranger’s Letter to the Beloved." It aims to explore the literary and scientific value of the trip, offering insights beneficial to literary scholars, writers, and researchers in the field of travel literature. Despite its significance, this trip has not received the attention accorded to others in the past, warranting a closer examination. Methods: The study adopted an inductive-analytical approach to trace the contents of the “The Stranger’s Letter to the Beloved”, and to present an overview of the conditions of the society and its surroundings. Results: The study concluded that the trip is full of intense cognitive nature, which includes a huge amount of knowledge and topics in the cultural and civilized environment that emerged from it. In it was a presentation of a picture of the different aspects of life: religious, including religious rituals in the Hijaz, and proximity to the Messenger PBUH social and psychological, including praising friends and scholars, alienation, and nostalgia. Thus, it represents an important document that was translated for its owner and for the prominent figures of his era whom he met and his correspondence to his friend Al-Mishdali. Conclusions: The study delves into Abu Asida Al-Bajai's diverse life experiences, covering social, religious, and intellectual dimensions with an artistic reflection of his era. Considering the results, it suggests an artistic approach to "The Stranger’s Letter to the Beloved," emphasizing key phenomena like intertextuality in its various forms.

Tinkering and Modeling

In high school Geometry, three dimensional solids are often overlooked and not part of the regular curriculum. The exclusion of three-dimensional (3D) geometry can affect spatial relationships and cause learner anxiety, correlating to a negative relationship with environmental navigation (Lawton, 1994). To mitigate learner anxiety in the introduction and manipulation of spatial figures, Tinkercad was utilized for creative virtual design and papier mâché was used for a hands-on, artistic approach to mathematics.

Outsmarting the algorithm or leaving the grid through surveillance artivism

Privacy feels like a distant memory since it is virtually non-existent nowadays. Cameras are all around, though we are not only visually monitored from any possible angle, but also with every movement and every trackable parameter. Faced with the feeling of being transparent and constantly recorded by various systems, the idea of becoming invisible is explored: finding inspiration from the ways that artists have tackled the issue of surveillance in their work – being exposed and evading it. Discussing artistic approaches as a means of raising awareness and exploring strategies to outsmart the algorithms can offer us alternative ways of existing outside the world of electricity and its manifold constraints. As the issue has been around for some time, the introduced artistic positions span the past 50 years and allude to the fast-evolving technologies in artistic research projects but also performances and artworks, which appear aesthetically pleasing at first glimpse but are insinuating a much more severe topic. Artworks inside the museum or gallery space might be much more refined, although intervention in the public space may reach a wider and more diverse audience. Raising the question of the evaluation, interpretation and exploitation of the material, the current discourse around artificial intelligence comes to mind and specifically the implications of machine learning and image generation in regard to the authenticity of the image in general, precipitating a broader conversation on surveillance and its antidotes.

Artist Jean Shin Interviewed By Jess Wilcox

The interview touches on five projects in sculpture parks from 2003 to 2022 that range from a modest waterfront urban city-owned plot to an exquisitely cultivated sprawling mountainous family-run grounds. Through one artist's approach to distinct ecologies, histories, and audiences of the sculpture parks, several shared features come into relief: the importance of care, decolonial imperatives, and a reevaluation of material and social resources.

Audio described comics in the museum

Audio Description is typically used to describe the visual aspects of various cultural products in the creative industries: performed plays, films, sports matches, art gallery and museum items. Such descriptions offer alternative sensory input for blind or partially sighted audiences and have been the staple of research in Audiovisual Translation Studies. There are, however, rather few studies focusing on museum environments and none that examine the niche area of comic art. This article addresses such a gap in two ways. First, it explores comics from an audiovisual translation/accessibility perspective. Second, it reports findings from a pilot study of accessible comic art where the views of selected professionals (curator, comic artists, audio describer) were collected, descriptions for three comics were commissioned and the responses of blind visitors to a comic art museum were gauged. The audio described comics—not without their limitations, as will be shown—are the result of a contingent collaboration of actors in the space of the museum.

DARWIN NO BRASIL: A DIVULGAÇÃO CIENTÍFICA EM QUADRINHOS

ABSTRACT: This article aims to analyze the comic book “Darwin: no Brasil”. The magazine in question is a comic approach that aims to show children and teenagers some ideas about the naturalist and his journey in Brazil of the 19th century. In the work analyzed, the serious figure takes on a different version of most materials, with a profusion of colors printed on paper with a higher quality than that of comic books. It is not easily found on magazine stands, but rather in physical and virtual bookstores. For the analysis of the magazine, some pages were investigated with the purpose of indicating how the comic artist uses visual resources in combination with verbal language, and how they complement each other, contributing to the propagation of the scientific message. The results indicated the complexity of disseminating scientific knowledge in a compact verbal-visual format. As a strategy to communicate the naturalist's journey to readers, the author created a narrative with a visual and linguistic nature in the comics. The attempt to present scientific questions in comics fulfilled the purpose of conveying part of Darwin's story in Brazil, exploring the emotions, but did not provoke reflections, possibly due to the author's intentions in discussing the issues of slavery as well as Darwin's view of the Brazilian society at the time. However, the reflections presented should not be seen as a rejection to the work “Darwin in Brazil”, but as a precaution for those who make the material available to children and adolescents.

Аршил Горки и художники русской эмиграции в США в 1920-е – 1930-е годы

The relevance of the topic of this article is explained by the under-researched artistic and historical-cultural context; it helps visualize history. The life and work of Arshile Gorky (1901–1944) are considered during the peak of his creativity, after moving to the USA, in the 1920s and 1930s. Notably, Gorky becomes part of the community of Russian artist emigrants. The article analyzes the artist’s personality and his strong connection with Russian culture, as well as the American art scene. It examines the influence on his work of Russian teachers and contemporaries living at that time in the United States, among them Nikolai Fechin, David Burliuk, and Ivan Dombrowski (John Graham). The article also analyzes Arshile Gorky’s role in the formation and development of American abstract expressionism, especially his contribution to the creation of creative methods and artistic approaches that influenced many American artists among his contemporaries and followers. Several methods were used in the research, including cultural-historical and social-historical methods. It is quite evident that Arshile Gorky embodied in his work the spirit of search and experiment: his works were distinguished by boldness, plastic expressiveness, deep emotionality, and technical innovation.

Сверхъестественное знание как побочный продукт художественного использования искусственного интеллекта

The cognitive revolution requires new artistic approaches to the reflection of identity. The grounds for understanding research-based art projects their causations and effects are discussed. There is a cybernetic factor that raises questions of knowledge and experience beyond the cognitive capabilities of the subject at the same time instrumentalizing its ignorance. How do artists research AI technologies in this regard? How do they conceptualize cybernetic reality? How does art reveal itself in it? What is the result of their searches? How do they fit in with modern theoretical discourse? Among the reactions to the emergence of artificial intelligence, there is euphoria arising from the successful imitation of works of art by it. It is expected from artificial intelligence that, having received all available information, it will present supersensible images and help turn the environment into a particular cyber space, and individuals into algorithms that combine technical and natural. The type of artistic research that establishes a connection with artificial intelligence in the forms of pre-rational communication is particularly noted. In the very “artificiality” of AI, art discovers the hope that with the end of identity and the disappearance of man, intellect will finally reflect itself not in the forms of the end of correlation, but in the forms of art and poyesis.

About Sacred Music by the Composers of the Gnesins’ House

The author of the article delineates as a special scholarly issue the study of sacred music by composers of the Gnesins’ House. The diverse aspects of its solution potentially include historical motives, subject matter and genres, content and form, meaning and its expression, etc. We can consider Sergei Trubachev (1919–1995), who was the head of the Conducting Department at the Gnesins’ State Musical-Pedagogical Institute, to be one of the founders of the present-day sacred musical creativity in Russia in the post-Soviet period. While examining the sacred music created rather recently by the composers from the Gnesin Russian Academy of Music — Kirill Volkov, Alexei Larin, Vladimir Dovgan, Andrei Mikita, Andrei Golovin, Valery Pyankov, and Valery Kikta, the author observes that there is a predominance of non-liturgical genres in it. The artistic approach of the composers in the sphere of the sacred musical space is characterized in the article as the interaction of the classical and non-classical, the traditional and the non-traditional elements. On the examples of sacred works by Kirill Volkov, Vladimir Dovgan, Alexei Larin and Andrei Mikita, the author highlights its concrete features: first of all, the connection of canonic and secular texts, traditional writing and contemporary intonational language.

Arts-Based Approaches to Priority Setting: Current Applications and Future Possibilities

Background: Arts-based research methods and priority setting research both reflect growing commitments towards public and participant involvement in research activities. This has contributed to a growth of these respective methods across research disciplines and sectors, but their intersection has not been explored. Methods: We conducted a scoping review to map the state-of-the-science of arts-based approaches within priority setting research. We conducted an open search of three databases, conducted reference list mining, and hand-searched two journals to identify relevant articles. Of 5457 records retrieved, 11 met our pre-established inclusion criteria and were included in the review. Data were extracted using Microsoft Excel to produce narrative and descriptive summaries. Findings: All articles had some degree of health focus. Areas of priority setting centered on chronic illness, hard to reach populations, cancer survivorship, dental reform, and youth. In terms of artistic approaches, the majority of the articles included visual methods, with some articles utilizing multiple art approaches such as music, drawing, and filmmaking. Qualitative methods were used in all articles alongside the arts-based approaches, encompassing techniques such as interviews, discussions, and storytelling. Priority setting activites were mainly facilitated in group settings. The suggested benefits of arts-based approaches included enhancing participant communication, improving accessible research dissemination, and encouraging dialogues on identified health concerns. Challenges with using arts-based approaches included limitations on time and resources. Conclusion: Arts-based approaches to priority setting is an expanding field, with clear applications across various research contexts and priority focal areas. Further attention to the integration of arts-based approaches within priority setting, their theoretical underpinnings, and concurrent development and evaluation of arts-based priority setting methods are warranted.

Traditional Figures Marketing Communication Activation on Is Yuniarto's Digital Wayang Design

Is Yuniarto is a comic artist and art illustrator who uses digital platform for sharing his digital comics or designs into the digital world. His works can be seen on Instagram @is.yuniarto where he redesigns fictional hero characters from abroad by adding a traditional Indonesian touch and making the results even better.
 This study aims to find Discourse of Traditional Figure Marketing Communication Activation on Is Yuniarto’s Digital Wayang Designs. The type of research used is descriptive research with a qualitative approach. The method used is semiotics. 
 The result is the theme of wayang design by Is Yuniarto is 'Adiwira Kalangga VS para Adidurja’. Adiwira Kalangga is Hero form Country Kalangga. Kalangga is like Trowulan by making a local name that is similar to Marvel serial characters universally. Figure seven Adidurja is powerful and intelligent supernatural.The characters depicted by isyuniarto actually want to match the characters in the Marvel series and then use local terms as a form of character similarity. Figures that are marketed include, among others, Kalangga, Kalawisa, Kalagetih, Biawak, Khageswara, Ki Astapadha, Bajra and Tuyul ijo. The depiction of figures through character traits, supernatural powers, colors, and weapons ownership. Is Yuniarto branding new figure of wayang design. His digital content communication competence in design is uniqueness.Philosophy in design activation its his strength.

Moral Panic and Islamic Comic Preaching on Social Media: Study of @Iqomic on Instagram

The Instagram account @Iqomic (Islamic Quotes and Comics) has popularized preaching content about Islamic comics through social media. Islamic comics initiated by comic artists are a phenomenon. Iqomic was formed in a network of comic artist groups or communities consisting of social media content creators, professional and amateur comic artists. This article reviews the @Iqomic account on social media, especially the Instagram application. Iqomic is an Islamic comic preaching account whose mission is to spread goodness and convey Islam's blessings to all. In analyzing the Islamic comic da'wah movement carried out by the Icomic community, the author uses moral panic to explore how the Iqomic community spreads and mobilizes comic da'wah as an effort to fight negative discourse about Islam, such as anarchy, terrorism and radicalism in its environment. Islamic community itself. The author is of the opinion that, in response to the emergence of various negative discourses about Islam, Iqomic has succeeded in becoming a popular da'wah media by incorporating Islamic narratives into popular Islamic culture among teenagers and young adults, so that it has become one of the favorite platforms for sharing stories and being creative.

Material metaphors in Shalamov’s and Mandelstam’s poetic consciousness

The tradition of Acmeism, among others, was a defining aspect of V. Shalamov’s artistic origins. The article examines Shalamov’s artistic interaction with the prominent Acmeist poet O. Mandelstam, demonstrates the key trends in the interpretation of material imagery traceable in the poets’ works, and discusses their individual artistic approaches to developing this imagery. Mandelstam was famously revered by Shalamov the author: Not only did he produce a portrayal of Mandelstam in the short story ‘Cherry Brandy’ of the Kolyma Tales [Kolymskie rasskazy], but also drafted a speech to be delivered at a 1966 gathering dedicated to Mandelstam’s 75th anniversary (the notes are kept in Shalamov’s archive at RGALI [Russian State Archive of Literature and Art]). In his notes, Shalamov mentions that his artistic affinity with Mandelstam reveals itself in similar attention to the material world, or the world of objects; adherence to Acmeist values; and artistic and personal nonconformism. D. Krotova finds proof of this affinity in Shalamov’s poetry and prose, citing his published output as well as works preserved at RGALI.

Komiks jako profanowanie mitu


 
 
 Traditionally, literary works are considered to be displaced myths. Comic book researchers would like to treat the objects of their analysis in the same way. Comics, however, are counted as mass culture, and are therefore treated differently. A work of art can open a human being to the transcendent. On the other hand, a comic imposes a kind of distance on the reader and is rather a story about how someone experiences the sacred, a voice in the discussion about the nature of religious experiences. Comics’ specificity, on the other hand, is conducive to creating stories which are mocking and critical of other types of messages. This does not mean, however, that there are no comic artists who try to offer the reader the possibility of contact with the transcendent.
 
 

The artistic peculiarities of Alexandru Grecu’s direction from the last decade of the 20th century

The article provides a brief analysis of the process of the artistic development of Alexandru Grecu’s creative personality and the manifestation of his distinct directorial peculiarities in the performances: Ce e viaţa omului/ What is the life of a man, Moţoc, Hercules, Unde mergem, domnilor?/Where are we going, gentlemen?, Triunghiul păcatului/The triangle of sin, Moliere, Căsătorie cu de-a sila/Forced Marriage, Ciuleandra, Care-s sălbaticii?/ Who are the savages?, Metamorphoses I, Metamorphoses II, S.R.L, The Moldovan, the Master and Margarita. Examining the peculiarities of Alexandru Grecu’s direction, the author reveals the artistic message that identifies the interconnection and interdependence of public life and of each individual in a rapidly changing world. The article emphasizes the fact that, being a relevant component of the artistic culture of the era of postmodernism, the performances of Alexandru Grecu, as a distinct sociocultural phenomenon, reveal through the prism of a multidimensional theatrical action the essence of the phenomena of social life, basing its artistic approach on the dramatic material, its stage interpretation, the situation and the moment in which the stage creation is produced.

The political identity for Megalia, Womand and Webtoon to counter Confucianism culture in South Korea

Referring to the wave of digital feminism in the modern era, this paper formulates the problem of South Korea's digital feminism strategy in reconstructing Confucianism culture with respect to morality. The study aims to analyze the development of digital feminist activist morality in South Korea against the background of a Confucian society and rapid economic growth. Of the numerous online feminist activist groups, Megalia and Womand have garnered attention from several feminist scholars. Moreover, later Webtoon comic artists incorporated feminist ideologies into their comic narratives. Based on Andrew Heywood's cultural conflict and identity politics perspective, as well as political morality in realism, the author has identified two crucial findings. First, the three of them operate from a realistic perspective that excludes Confucian morality as a factor in their decision making. Second, Megalia and Womand tend to exhibit radical behavior due to their exclusive focus on identity politics. This contrasts with Webtoon, which creates comics driven by economic interests, resulting in more moderate behavior and a preference for cultural distribution.

‘Black lines on white paper’: how comic artist Barbara Brandon-Croft draws on Where [she’s] Coming from

ABSTRACT Barbara Brandon-Croft is the first African American woman to have a nationally syndicated mainstream newspaper comic strip. Her comic Where I’m Coming From was first published in the Detroit Free Press in 1989. Two years later it was nationally distributed when it was picked up by Universal Press Syndicate. This interview is a compilation of edited excerpts from two recorded interview sessions conducted with Barbara Brandon-Croft during the summer of 2022, and follow-up sessions that occurred in the fall of 2023. The conversation focuses on how Barbara’s experiences during her formative and adult years inspire the world depicted in Where I’m Coming From. We discuss her experiences while growing up in the predominantly Black neighbourhood of New Cassel, Long Island; her father Brumsic Brandon, Jr.’s influences on her career path; her undergraduate years at Syracuse University; and the inspirations behind the content in some of her strips.

Your translated memory or mine? Re-membering graphic novels in performed audio descriptions for The Cartoon Museum, London

ABSTRACT This article offers a practical and theoretical exploration of a (highly) specialised type of comics re-mediation, namely, audio described (AD) comics for the Blind and Partially Sighted (BPS). Building on relevant work in comics studies and translation studies, it is argued that translation activity, broadly seen to include interlingual as well as intersemiotic translation (Jakobson 1959), helps rewrite original works. Translation is defined as a blend, or a hybrid mental space combining characteristics of source and target contexts. As such, it entails the imbrication of personal memory, collective memory and the diffusion of a translator’s memory in linguistic codes, social milieus, textual traditions and digital capabilities at play. AD exhibits the same blend logic in that it selectively contains visual source-text information in target-text audio performance. An exploratory comics AD pilot project at The Cartoon Museum (London) serves as an exemplar. The project consists of three phases: a focused interview with the creative team (describer, curator, comic artists); scripting and performance of three AD samples; and collecting feedback from BPS visitors. The project reveals how collective memory started to form in this dialogic process and, ultimately, which aspects of AD practice may be deemed to be effective.

Lauds by Krzysztof Penderecki – a musical transmission of a spiritual message: Поем Твою, Христе, спасительную Страсть, и славим Твое воскресение

The centre of research interest described in the article is the analysis of the relationship of the work of the eminent Polish composer Krzysztof Penderecki, LAUDS I – Złożenie do grobu (Laying in the Tomb) and LAUDS II – Zmartwychwstanie (Resurrection), with the texts of the Orthodox rite of Good Friday and Holy Week Saturday. The first part of the article presents the political and historical context of the work, its influence on the choice of content and form of composition. The liturgical coherence of Penderecki’s three works is presented: St Luke’s Passion and both Lauds, as a unity combining the cohesiveness of the Paschal themes. The construction of the work itself according to the division into individual parts is discussed. Each is placed within the liturgical, timbral and semantic layers of the Holy Week liturgy and discussed in terms of its musical construction, which makes use of extremely varied and often unconventional means of artistic expression. The article concludes that Krzysztof Penderecki’s Lauds, being an artistic – not liturgical – work, subordinates the text of the service to musical needs, using it as an inspiration for the spiritual values subsequently contained in the music. It is difficult, therefore, to find in it the preservation of the liturgical canon, or its setting in the direct course of an Orthodox Paschal service. Rather, one should seek, translated into musical language, the values contained in the prayer layer of the Good Friday and Saturday rites. Crucial for all the considerations carried out in the article are the rela[1]tions between the verbal layer of the service and the form and musical layer of the work, which is an unprecedented, until then, artistic approach to the Easter rite. The whole is illustrated with examples taken from the scores of the work, referring to the descrip[1]tions presented in the article.