Examples Of Art Research Articles

Editorial: Blurring Boundaries & Building Community through Critical Awareness, Collective Action, & Creative Pedagogies

What is the role of art education today; what should our preservice teachers know; what do we wish people outside of the field knew about us; how can we advocate for the importance of our work in the face of so much uncertainty in education broadly; how can our research speak to these questions; and how can we possibly tackle all of this with the amount of responsibilities we carry? Serving simultaneously as teachers, administrators, and researchers in our respective universities, we (Amanda and Cala) discuss these questions regularly. At times, it feels like too much, like we are navigating a cacophony of competing interests, tasks, and politics too accelerated to really be heard or to make a significant difference. But, together, we can be heard, and the articles in this issue provide an inspiring spectrum of approaches and examples of artists and educators engaged in active pedagogies for community connection and historical understanding on a local and global level.

Ultimate Fantasy. Subwersyjne strategie queerowania Sztucznej Inteligencji w projektach transliterackich

This article describes artistic examples of queering Artificial Intelligence (AI), which can be understood as a practice that challenges the (hetero)normative nature of neural networks by implementing a queer perspective. The evaluation of ways in which AI reflects societal norms is conducted by addressing biases that disproportionately affect marginalized communities. On this basis, the author highlights the need for inclusive practices that make it possible for queer experiences to be represented by technology while also discussing why AI cannot be neutral. The in-depth study of Ultimate Fantasy, a collection of literary texts generated by a Queer AI, reveals how artists use language models in novel, subversive, and possibly liberating ways. The author aims to frame this practice as an example of a queer utopian aesthetic project in accordance with José Muñoz’s understanding of queerness. The various motifs evident in the short story collection – such as queer modes of love or trauma – are analyzed as reflections of themes present in the corpus of queer texts used to train the language model.

The Historical Expression and Aesthetic Trends of Lotus in Literati Painting during the Ming and Qing Dynasties

The lotus, celebrated for its cultural symbolism and aesthetic allure, has been a recurring muse for flower and bird painters in Chinese art history. This article explores lotus paintings during the Ming and Qing dynasties, pivotal periods of ideological liberation and societal complexities. Traditional lotus artworks across dynasties have woven a rich tapestry in Chinese painting. Focusing on the lotus, the article intricately combines symbolic meanings and historical contexts, unraveling the flower's intrinsic artistic essence. It sheds light on the evolving aesthetic qualities within lotus depictions, using this exploration as a lens to understand cross-cultural exchanges and clashes between Chinese and Western influences. Emphasizing the inherent artistic will of lotus-themed painting, the research delves into the nuanced development and aesthetic significance of this genre. By elucidating the beauty expressed in the evolution of lotus images, the study provides valuable insights with contemporary relevance. It highlights the symbolic significance of the lotus in Ming and Qing China, incorporating concrete examples of renowned lotus paintings and artists. This comprehensive approach aims to enhance reader-friendly comprehension and explicitly articulates the contribution of these findings to current artistic practices. The research not only deepens our understanding of lotus culture but also serves as a reference for contemporary lotus-themed creative endeavors, connecting historical expressions with modern artistic sensibilities.

The state of formation of vocal-pedagogical culture among future music teachers

The article analyzes the level of formation of vocal pedagogical culture among future music teachers. The formation of a vocal pedagogical culture is an important task that helps them effectively train and educate students in the field of vocal art. There is a problem in the education of students – a decrease in the level of artistic and aesthetic needs. Most students prefer to listen to samples of low-quality mass youth music that does not meet the criteria of artistry. One of the reasons for determining the unformed musical and aesthetic taste of the younger generation is the lack of information about artistic examples of vocal culture and domestic and foreign performance. In this context, special attention should be paid to the training of vocational education specialists who are capable of creating an alternative to pop culture, preserving and enhancing the best traditions of professional musical art. To solve this problem, it is necessary to obtain special theoretical knowledge that will contribute to the development of the performing culture of the future music teacher. In the framework of our research, the concept of vocal pedagogical culture is considered as a certain integrative quality of a person, which includes a value attitude towards the heritage of humanity in the field of various types of singing activities, a high level of professional abilities (in the field of vocal pedagogy), a high vocal and performing level, as well as creative component in vocal and pedagogical skills.

Composer Eduard Brylin: Universal Nature of Creative Activity

The purpose of the research is to examine the creative path of Eduard Brylin, focusing on the factors that became the foundation for forming his professionalism and ensuring the universal nature of his creative activity. The research methodology is based on the biographical method and the model of a universal creative personality in the aspect of activity universalism (according to O. Komenda). The scientific novelty of the research lies in studying the life chronology of the composer Eduard Brylin as a universal type of musician, namely a universal composer. Conclusions. The basis on which the universal creative figure of E. Brylyn was formed was laid at the initial stage of his life. The musical environment of the family, rooted in national traditions, shaped Eduard’s musical and aesthetic preferences. Hard work, support and assistance from his parents, the professionalism of his teachers and mentors, and his dreams ensured his rapid growth in the piano field. Performing skills enabled the musician to present his work and be a concert performer. His thorough piano training allowed him to create methodical and highly artistic examples of piano pedagogical repertoire for children and youth and to try himself in the piano concerto genre. In the composition E. Brylin continued the traditions of his mentors, choosing to rely on folk song sources, appealing through A. Shtogarenko to the works of M. Lysenko. His intelligence and natural introversion led him to gravitate towards chamber genres, in which the lyrical facets of the composer’s personality were fully revealed. We define the 2000s as an acmeological period of the musician’s creative work because this time was fruitful in the implementation of various types of musical activities, which emphasises the universal nature of the artist’s creative activity. Loyalty to his musical and aesthetic ideals became the starting point for the realisation of Eduard Brylin’s creative potential as a universal composer.

Ancient Indian Stories in the Oirat Collection “The Tale of the Nectar Teaching

Questions about the similarity of the plots of Oirat written monuments with ancient Indian ones still remain insufficiently studied. Most of the Oirat works have not yet been introduced into scientific circulation or translated into Russian and other European languages. The article examines the origin of the plots of 17th and 18th century Oirat religious and didactic collection. “Aršān nomiyin tuuǰi” (“The Tale of the Nectar Teaching”), dating back to the literary monuments of Ancient India. The collection consists of sixty-four short Buddhist stories. It is framed by a diagram of the Tibetan Buddhist treatise “Lamrim,” presented in thesis form. The main provisions of the treatise are revealed in the collection with the help of artistic examples from various Indian and Tibetian sources. The collection is distinguished by a strict functional purpose; it introduces the laity to the course of Buddhist teachings and instructs them on the path of virtue. It was used by Buddhist monks as a guide in his preaching practice until the beginning of the 20th century. The article examines the structure and content of Oirat and ancient Indian stories in their narrative presentation, identifying similarities and local differences. As a result of the study, it was established that genetically similar plots help to better understand the content of short stories in the Oirat collection, which have lost their essential structural components due to various reasons. The stories of “The Tale of the Nectar Teaching” differ from the source texts by the extreme conciseness of their plots: they lack any descriptions or comparisons, the main focus is exclusively on heroes’ actions, the action unfolds abruptly and dynamically. We noted a significant similarity between the plots of “The Tale of the Nectar Teaching” and ancient Indian works both at the plot-compositional and at content levels. This fact indicates their genetic relationship. The identification of the local differences in the Oirat collection demonstrates the genesis of the plots of ancient Indian monuments and their fate outside India.

Who’s Afraid of Red, Yellow and Blue: On the Ukrainian Abstract Art of the 1960s

The paper focuses on the creative experiments of Ukrainian artists during the 1960s in the field of abstract art, analyzing them against the background of social and cultural events of the time, which were reflected in the features of artistic life. In this regard, Western fine art revealed to Ukrainian artists during the years of the Thaw after decades of strict separation from foreign art during the Stalinist era, was a profound influence on them. However, the perception of the Western experience was rather specific due to the lack of information and theoretical understanding of the latest trends, as most works of world art became known in Ukraine through the exhibitions in Moscow and printed reproductions. The ambiguity of the cultural policy in the USSR played a significant role here, where the official declaration of the renewal of art and the right of artists to individual self-expression were combined with a new ideological attack on creativity. State control over art gained new dimensions, due to which the authors’ experiments in the realm of abstract painting were doomed to exist in the circle of unofficial art. The article examines the “campaign against abstractionism and Western influences” launched by the authorities in the early 1960s, which had a dramatic impact on individual creative destinies. Using the example of artists from Lviv, Kyiv, Kharkiv, Odesa, and Uzhgorod, the article analyzes creative directions in the realm of painterly abstraction, the features of its versions in Ukraine. It is significant that in most cases the appeal to non-figurative art remained only an episode in the work of artists, or coexisted with other ways of figurative expression. Abstract art in Ukraine generally was experimental, the presence of similar works in the art of the late Soviet era testified to a deep crisis of the socialist realist doctrine, the affirmation of individual creative thinking. Abstract works of Ukrainian artists of the 1960s are an important page in the history of Ukrainian art.

Development points of the derivation process related to Nakhchivan dialects and accents (based on written and oral literary and artistic examples)

In linguistics, the study of the characteristics of acquisition of dialects is of particular importance. In particular, the study of dialects based on written and oral literary examples plays an important role for research in this field. Until 1920, Azerbaijani dialects played a fundamental role in the development of the literary language of Azerbaijan. The role of dialects in enriching the lexicon of the literary language is irreplaceable. Thus, dialect words have become the source and base of the lexicon of the literary language. Now this process is going in another direction. In other words, the literary language affects dialects and changes them, creates conditions and grounds for the reduction and disappearance of the expressive function of dialect words. But for now, dialects remain as an independent language unit in the national language. As the literary language affects the dialects, their phonetic, grammatical systems and pronunciation rules also change. They lose their unique features and approach the literary language. The research article deals with the creation of words related to dialects in prose. Word formation of both suffixes is proved by selected examples from the literature. In conclusion, let’s note that word-forming affixes have more stylistic features in works written in spoken language, and their study is important from a philological aspect.

‘Formalistic Freaks in Music’: ‘Ilya Golovin’, Shostakovich, and Zhdanovshchina for the Masses

ABSTRACT Amidst all the art, literature, music, and theatre of the ‘Zhdanovshchina’ (the post-war Soviet intervention in arts policy), one play stands out: Sergei Mikhalkov’s Ilya Golovin. In this play, a leading Soviet composer is chastised for his formalism but sees the error of his ways and again writes music of sufficiently socialist character. Ilya Golovin is noteworthy not just because it presents a crude parody of Shostakovich and his music, but because it reveals the wider context of the ideological campaign against artists and shows us something of how different artists responded. In this article, I argue that Ilya Golovin is not simply a bizarre example of multiple artists toeing the ideological line: instead it reveals the uglier side of late Stalinism in the form of vehement anti-Semitism, as well as demonstrating the xenophobic Cold War patriotism that served as the ultimate motivation behind the Zhdanovshchina itself.

OOO Sound Art and Technology as Speculative Realism

This article presents a conceptual elaboration that was created from an interview with the philosopher Graham Harman. It makes linkages between art, technology, communication and philosophy while focusing on object-oriented ontology philosophy applied to sound art. The argument involves aesthetics and social contextual ideas such as post-digital, techno-cultural, and post-techno aesthetics. Examining how technology, as a technical, symbolic and contextual dominant object of material and symbolic meaning, affects society and the arts and impacts perception, by pointing out the analytical and philosophical differences between events as spectral, immanent forces with performative qualities and technological things as materials with atomic vibrations. The aim is to promote perspectives on hybrid-materialism and event with conceptual linkage in hybrid creative art forms focused on sound as the virtual nominator in both the analog and digital environments of an expanded reality. The analysis focuses on sound studies and digital media art, supporting those artistic mediums that employ hybrid materialism to varied degrees, as shown by the artistic examples that build specific conceptual reformulations of space, score and performativeness art research by creating metapolitical distinctions and extrapolations that are able to inspire notions about time, event and place that are crucial for time-based artists that rely on technology and computational infrastructures for performativity and theoretical exploration about time, sound , image and place.

Young people (de)politicizing youth cultures: agency, well-being, and claims for change

ABSTRACT This paper investigates unauthorized practices of sticker art that usually understood by scholars as political acts and yet narrated as apolitical by the sticker artists themselves. In order to analytically explore this contradiction, the article examines how and why representatives of youth culture (de)politicize their practices and present themselves as (non)political subject. The concept of (de)politicization is utilized as a tool enabling researchers to analyze what actions and intentions actors wish to present as claims for social change and what not, and the rationale for this. Using ethnographic data on the sticker artists’ community in St. Petersburg, Russia collected in 2016-2021, I scrutinized the nexus of the ethics, esthetics, and politics of youth culture in order to reveal how certain combinations of ethics and its visual manifestations are connected to the young people’s (de)politicization of practices in a given socio-political environment. Through the example of sticker artists, the paper discusses the alternative types of claims that do not follow the logic of resistance and shows young people’s complex work of politicization and depoliticization, which contributes to their liberation from subordination and provides them with an opportunity to live a meaningful life in their own manner.

Semantic form in artistic examples of Iraqi-Turkmen folklore

Semantic form in artistic examples of Iraqi-Turkmen folklore

Becoming Artography

This study focuses on mapping Theatre-In-Education (TIE) practices through the research methodology artography. The study is inspired by agential realism, using diffraction as a way of reading different insights and discoveries with an artographic lens and how these multiple dimensions intra-act as an entanglement. The article provides an example of TIE artists co-labouring their practice as research by exploring the entangled intra-action between the positions ‘artist, researcher, teacher’. This study aims to explore how the multiple perspectives offered by an artographer’s lens contribute to significant knowledge in the art-making process of the TIE programme The Clearing. Learning for the TIE artists involves moving in and through spaces of possibilities folding and unfolding new understandings, a becoming intensity of an entangled artist, researcher, teacher. The process of becoming artography in TIE produced movements of possibility in four evolving spaces: Lingering in-between, Transformation and affect, Knowing and being, and Encouraging diffractions. The study also produced artistic and pedagogical principles regarding dramaturgical thinking concerning how to structure an aesthetic learning process and how it is facilitated.

Artificial intelligence and digital art: current state and development prospects

The article analyzes the use of artificial intelligence in various types of digital art at the current level of their development and outlines the possibilities of external ways of such interaction. The author considers specific artistic examples, which see that the use of artificial intelligence in art develops a complex art history and philo-sophical questions: what is art? how does computer technology change aesthetics? where is the line between technology and creativity? who is considered the author of the work generated by neuronets? is it possible to compare anthropocentric and non-anthropocentric forms of creativity? etc. The researcher demonstrates different approaches to the chosen topic, citing antagonistic points of view of scientists. Some of them believe that art with the help of a computer is the next step in the development of avant-garde trends, while others see these trends as the degradation and even the death of art. In digital painting, we are already faced with the use of works (the most famous example is the android-artist Ai-Da) who know how to draw in different techniques and with the use of different tools. The victory of a painting generated by a neural network at an art competition raised questions about its au-thorship and the admissibility of participation of such works in competitions for art-ists. Discussions on the ArtStation platform indicate that many artists do not per-ceive works made with the help of artificial intelligence as "real" works of art. In mu-sic today, it is possible not just to generate melodies, but to create an imitation of certain styles or composers, which raises questions about the nature of true creativi-ty and its limits. Another direction of using artificial intelligence in music is the crea-tion of virtual singers who become mega-popular. Such an example is given by the Japanese virtual singer Hatsune Miku, who is a hologram with an android interface and an artificially generated voice. In the field of video games, artificial intelligence knows how to create not only levels, but already generate game target worlds and complete games. Artificial intelligence in photography can generate images of non-existent people. At the same time, it is unlikely that artificial intelligence can com-pletely replace a human artist, after which he learns from the previously created ma-terial. This makes it possible to say that he left real creativity and knows how to compile in advance, and not to generate original artistic solutions.

МІФОЛОГІЧНИЙ ПІДТЕКСТ РОМАНУ В. ШКЛЯРА «ХАРАКТЕРНИК» У РУСЛІ ІДЕЙ ІВАНА ОГІЄНКА

The article focuses on the close connection between the content of a literary work and the mythological worldview of the people. For many contemporary artistic exam-ples, traditional mythology plays a defi ning role in terms of their plot, thematic, and stylistic parameters.The current state of literary studies indicates a particular interest in the mytho-logical element of a literary work. Ukrainian culture, in general, and literature, in particular, are currently returning to the traditional foundations of the national world-view, which was largely built on the belief in the connection between humans and higher forces of nature.Analyzing a literary text in connection with national mythology is a path to discover-ing the deep roots of artistic creativity that exist in the consciousness or subconsciousness of the author as a carrier of the national tradition. The author acts as a mediator between the past, present, and future, capable of conveying important messages to contemporary individuals for harmonious living in harmony with themselves and the universe.In V. Shklyar’s novel «Kharkiv Character», the mystical, based on the principles of Ukrainian mythology, plays a signifi cant role. Relying on mythological legends and tales about Cossacks-charakterniks, the author off ers his own interpretation of the images of Ivan Sirko and his associates, who use magical abilities to fi ght the enemy.The Sich Cossacks in the work emerge as personalities closely linked to their native land, traditional culture, and the ethical norms of their ancestors. Their magi-cal abilities are intended to contribute to establishing laws of harmony and justice on Ukrainian soil.The presence of a female character in the novel about the Sich Cossacks not only brightens its lyrical narrative plane but also contributes to the affi rmation of the idea of the continuous transmission of magical knowledge to subsequent generations of Ukrainians

PRECEDENT PHENOMENA IN BRITISH AND UZBEK CULTURES

The aim of the article is to reveal the cultural specificity of precedent phenomena functioning in British and Uzbek literary texts. One of the main purposes of the article is to demonstrate how a precedent text functions in literary texts using an artistic example. Various illustrations from different sources are given, stating that in literary texts and folklore genres, different types of precedent phenomena are given to express the perception of a social group. An attempt is made to show how a precedent phenomenon in a literary text can reflect the social worldview of people of different cultures to comprehend a certain situation. Moreover, this work aims to study the historical development of cultural linguistics and its subject matter; to deal with intertextuality and functions of precedent phenomena in the discourse; to identify the types of precedent phenomena and their features; to analyze precedent phenomena functioning in British and Uzbek literary texts as sources for culture representation.

Temporal dimensions of the passion narrative in «via crucis» by Franz List and Stefano Vagnini

Relevance of the study. Postmodern genre pluralism, including in sacred musical creativity, has increased the interest of scientists in church genres that have recently been on the margins of musicological science, namely those that were not based on canonical texts, but relied on the paraliturgical tradition. Among them, let us pay attention to the rite of the Way of the Cross (via crucis), which for a long time was in the shadow of canonical genres, but in the period of modernism and especially in postmodern times, due to mobility, it turned out to be relevant for the creative searches of contemporary masters. The first artistic example—«Via crucis» by F. Liszt, created at the end of the 19th century, laid the foundation for the genre of the Way of the Cross, and therefore deserves the primary attention of scientists. No less important are works that not only continue the genre tradition, but also rely on the Lisztian model invariant. In this context, the iconic composition is «Via crucis» by S. Vagnini, written at the turn of the millennium. Both works are connected not only by belonging to the genre invariant, but also by the originality of approaches to the passion narrative underlying the rite, so this aspect is central in the comparative analysis of these compositions that are significant for European religious music.
 The purpose of the article is to reveal the temporal aspect of the deployment of the passion narrative in the compositions «Via crucis» by F. Liszt and S. Vagnini and to elucidate the artistic and dogmatic-theological potential of temporal shifts in the passion narrative.
 The methodological basis of the article are the historical, cultural and comparative methods, which made it possible to single out the Way of the Cross from other passion genres and to carry out its typology. Musical-liturgical and theological-hermeneutic analysis made it possible to identify the features of the embodiment of the passion narrative in the works of «Via crucis» by F. Liszt and S. Vagnini, to prove that temporality as a category outlining the linearity or non-linearity of the storyline deployment can become a factor in the formation of new meanings—artistic and theologicaldogmatic.
 The results and conclusions. A typology of the musical-liturgical genre of the Way of the Cross has been created: a genre invariant (a work of cantata-oratorio type with a developed instrumental and minimized verbal component) and two variants —instrumental and cantata-oratorio with a sprawling and detailed storyline —has been identified. The genre invariant, represented by the work «Via crucis» by F. Liszt (1879) and the modular oratorio of the same name by S. Vagnini (1997), turned out to be the most mobile and open to experiments. Both works are notable for the temporal decision in the unfolding of the passionate narration, which is unconventional for sacred music. F. Liszt violates the linearity of the passionate narrative, based on fourteen episodes of the rite of the Way of the Cross, choosing for a number of parts of his «Via crucis» verbal texts that are temporally inconsistent with the content of the events described. Of particular importance in the composer’s work is the medieval sequence Stabat mater, which serves as a marker of the presence of the Mother of God in the storyline of the Way of the Cross. In «Via crucis» by S. Vagnini, who in his composition focused on Liszt’s work, temporal non-linearity becomes the basis of a parallel storyline of the Mother of God. Temporal shifts and double (parallel) narrativity in the works of F. Liszt and S. Vagnini become a form of conveying theological truths, namely, in a special and visual way they emphasize the role of the Mother of God in the Salvation history.

Touched and Changed: Self-Reflexivity and Reciprocity in Fieldwork

Touched and Changed: Self-Reflexivity and Reciprocity in Fieldwork

Immigrant Artists and How They Affected the World Art Center (NYC) in the 1900s

This research is based on the population migration that is located in New York in the 1900s, where, at that time, numerous immigrants from all around the world arrived and dwelled, seeking chances and a place to live. Such a social context promoted interpersonal exchange and cultural diffusion and made New York the world center of art at the time. The paper focuses on the immigrant artists in New York city in the 1900s and how they affected New York city in that time period, giving examples of artists. This research views art from the perspective of immigration and cultural fusion and the impacts of modern population migration, so it will be able to explain the art developments in New York city from a different perspective. Finally, this research concludes that through influencing local organizations and inspiring people to pay more attention to the issues that immigrants face.

Enhanced Example Diffusion Model via Style Perturbation

With the extensive applications of neural networks in several fields, research on their security has become a hot topic. The digitization of paintings attracts our interest in the security of artistic style classification tasks. The concept of symmetry is commonly adopted in the construction of deep learning models. However, we find that low-quality artistic examples can fool high-performance deep neural networks. Therefore, we propose the enhanced example diffusion model (EDM) for low-quality paintings to symmetrically generate high-quality enhanced examples with positive style perturbations, which improves the performance of the deep learning-based style classification model. Our proposed framework consists of two parts: a style perturbation network that transforms the inputs into the latent space and extracts style features to form a positive style perturbation, and a conditional latent diffusion model that generates high-quality artistic features. High-quality artistic images are combined with positive style perturbations to generate artistic style-enhanced examples. We conduct extensive experiments on synthetic and real datasets, and find the effectiveness of our approach in improving the performance of deep learning models.