Artistic Innovation Research Articles

The Artistic Features and Innovation of Watercolor Painting

Watercolor painting is one of many forms of painting. Because of its strong expressiveness of context and rich connotation, it has a certain sense of hierarchy, and is highly sought after by art lovers. With years of development and evolution, watercolor painting has gradually formed a unique set of artistic aesthetic characteristics, and presented a more diversified development trend in artistic expression. This article discusses the artistic characteristics and artistic innovation of watercolor painting successively, in order to let more people understand watercolor painting and devote themselves to the research and learning of watercolor painting.

Creativity as a response to chaos: innovation and imagination in post-2003 Iraqi literature and art

My study focuses on Iraq, and, more specifically, on the creative works of fiction and art that emerged in the years following the 2003 US invasion when chaos became a reality. Analysing these works will show how their emergence and flowering during the period after the war, as well as the decades of censorship and stagnation prove the existence of a viable connection between chaos, creativity, and knowledge. In other words, I will show how the violence and disorder in the post-war period stimulated creativity in two Iraqi authors and artists. [...] Their works show how imagination can spring from chaos to describe it, embrace it, or suggest certain ways to resist it.

Research on the Training Mode of Product Design Talents Based on the Mode of Sino Foreign Cooperation in Running Schools

As an application-oriented major with strong practicality, product design specialty is oriented to cultivate compound senior professional and technical talents with solid scientific and technological foundation and artistic innovation ability, and pays attention to the system technology of efficiency and benefit research. Practice teaching occupies a large proportion for the traditional "inculcation" theoretical teaching mode has been unable to meet the needs of talents in the rapid changing of the market. At present, under the mode of Sino foreign cooperation in running schools, the effective integration of international talent outlook, quality views and high-quality education resources at home and abroad has greatly improved the quality and level of training for product design talents. This paper focuses on the issues related to the training mode of product design talents under the mode of Sino foreign cooperation in running schools.

The Journey of Islamic Art Through Traditional and Contemporary Calligraphy Painting

Islamic Art is considered as historical art and it is famous all over the Islamic world. The Islamic calligraphy art started around the time of the revelation of al-Quran. Islamic calligraphy art was famous for adorning the interior and exterior aspects of mosques and some famous Islamic buildings. The aim of this article is to highlight and study the traditional and contemporary Islamic calligraphy painting by well-known calligraphers. Calligraphers have been inspired by the Arabic language and they are expressing this language as a kind of unique art through traditional and contemporary painting. Indeed, this paper will provide a brief history of calligraphy art. Islamic calligraphy painting is expressed in a variety of styles and there are also different modes of traditional Arabic styles of writing. Islamic Calligraphers appreciate this sacred and spiritual art and as they carried on their journey, they began to create their art by adding some inspirational verses of the Quran as well as some historical poems. The most noticeable visible feature related to Islamic calligraphy traditional and contemporary painting has to do with the complex and intricate compositions that involve the overlapping of words integrated into a unique method. Islamic calligraphy painting, through either a traditional or a contemporary method, expresses movement and dynamism through the calligraphic lines. The study reveals that the traditional and contemporary calligraphy paintings are considered as innovative art based on their unique traditional scripts, the intricate contemporary identity of the handwriting and the materials. Calligraphers expressed their artistry, and their ability and creativity by applying the sacred language to create a fabulous and unique tradition which is referred to as contemporary calligraphy painting.

HOW DO ARTISTS INNOVATE ON SCENE? UNDERSTAND THE IMPLEMENTATION OF ARTISTIC INNOVATION THROUGH THREE CANADIAN MUSIC FESTIVALS.

ABSTRACT Implementing artistic innovation in music festivals is complex but also risky. Indeed, any failure in its realization can have a negative impact on the success of the festivals. In this study, the objective is to understand how music festival stakeholders conceive of artistic innovation to provide the tools and best practices to make it more successful. Based on a qualitative research, the analysis revealed that stakeholders in the achievement of artistic innovation in music festivals can be human or non-human actors. Secondly, regarding strategies for the implementation of artistic innovation, it appears that the realization of artistic innovation can take place in three forms. It can be the result of a combination of activities between several stakeholders in the form of collaboration. It can also arise from a controversial situation where several forces are in contradiction. In this case, it is from a situation of interaction that artistic innovation arises. Finally, artistic innovation can be only the result of an individual action of a given stakeholder. In this instance, it is the result of an individual activity carried out by a single actor. Keywords Artistic innovation - Music festivals- Implementation - Strategies – Stakeholders

THE RELEVANCE OF EMOTION, COGNITION, AND CREATIVITY IN INNOVATIVE ART EDUCATION AND PEDAGOGY FOR THE YOUNGER GENERATION: A STUDY

Education is a term which is to draw out the innate abilities and talents of children leading them out of the darkness of ignorance to the light of knowledge about our surroundings, art, and culture. As J. J. ROUSSEAU said "Plants are developed by cultivation and men by education" not simply physically but also spiritually. Homo Sapiens or our species are the beings who think, also the beings who learn, and the beings who simultaneously experience a rich variety of affective emotional states, including a selected suite of emotional states specifically and directly related to learning. In this paper, the relevance of emotion, cognition, and creativity from both end teachers and students as well have been acknowledged in allowing for emotions to surface in the classroom to allow for a deeper transformative process to occur in their students. The concept of affect in learning or emotions in learning is the same innovative pedagogy that would be intervened with a meaningful strategy or tactics. Artistic disciplines including music, dance, theatre, visual arts, literary arts, and media arts have a positive effect on children's and adolescents' social-emotional learning in which emotion- a multidisciplinary inquiry in perspectives of art discourses. Just as the art practices must be cultivated into long-term art competencies through guidance and instruction, the social-emotional components of these activities must be cultivated into long-term social-emotional competencies or students' development of individual and interpersonal skills beyond the realm of academic achievement. In closing, the paper calls for the centrality of courage and freedom in allowing emotions to become a form of innovative art pedagogy in the transformative learning of the younger generation.

Design requirements for advertising on fashion fabrics printed for the Italian company Moschino Milano

The design of fabrics and fashion is an innovative art characterized by functional and aesthetic features, in which the designer strives to make the biggest impact on the forum and its aesthetic and aesthetic conviction. The aesthetic values, together with the functional value that the design is based on, play a role in meeting the requirements of the age and filling the needs of the consumer. The acquisition of fabrics and fashion which has reached its final stages through the technical development, and the technologies that were keeping pace with the movement of development, which is still evolving and varies according to the modern need, that the declaration differs in many differences in terms of application and means . , Advertising in newspapers, walls, magazines, newspapers, transport and also spread to fashion fabrics, which in each of these cases is trying to come close to achieving its objectives, namely to achieve contact with the delivery of the message to the recipients, as well as the promotion and objective in conveying the aesthetic and functional meaning of fabrics and fashion , A set of conclusions and conclusions were reached

The Identity of Hispanic Literatures: One Breath, a Million Words

Nothing can stop the tides of innovation in art: it is this idea that a captive, dirty, weak, and hungry Don Quixote embraced to affirm himself as the heroic referent for the emerging Romance literatures. Indeed, this adaptability has been the secret of his longevity in the Western canon. Like Don Quixote, Hispanic literatures cannot build their identity on a pristine, metropolitan, and uniform Spanish language elevated by its exclusivity. If literary Hispanism is to be alive, it needs to evolve into a complex cultural construction that binds together the oral and literat­e languages of America and Spain and takes into account transatlantic flows and contradictions. Breathing, a common feature of both literary patterns and a rhythm of nature, will serve as the much-needed metaphor to bridge Latin American oral cultures, which have found permanence and expression in written texts, with literate cultures, including even the most urban, digital, and technologically advanced from Mexico, Chile or Spain. ­

Особенности образной и композиционной структуры рассказа А. П. Чехова «Новая дача»

The research objectives are as follows: to reveal the basic principles of the storyline and compositional arrangement of A. P. Chekhov’s story “The New Villa”, to examine the personages’ inner world, to analyse the story artistic structure, to describe a common man’s (and universal human) perception of vital and moral values. Scientific originality of the study lies in the fact that the researchers suggest their own interpretation of the storyline and compositional techniques, linguistic and style peculiarities of the story. For the first time Chekhov’s story is subjected to a comprehensive descriptive and textological analysis, relevance of which is conditioned by specificity of the image system and narrative poetics. As a result Chekhov’s authorial position relating to artistic innovation in the story “The New Villa” was revealed, peculiarities of the text artistic organization in compositional techniques realization in narration were determined.

O CINEMA E O ESPAÇO: a construção das subjetividades juvenis

Cinema, an expression of an innovative art, ever since it emerged, it showed itself as one of the main semiotizing machines. Youth, in its multiplicity, has entered, in different ways, into the semiotization of the seventh art. This work aims at interpreting the relationship between cinema and space as ingredients in the construction of youth subjectivities. A theoretical premise provided the basis for the reflections: cinema is an art of moving space, running of places, characters and situations that combine image and movement, fascinates young people and influences them in their way of seeing the world – and of seeing themselves. In order to carry out the work, there was guidance from a graduated and doctorate course; participation in conferences about youth; researches on young people from urban peripheries and participant observation in public schools.

Rhetoric and Innovation in Hellenistic Art by Kristen Seaman

BOOK REVIEWS/COMPTES RENDUS 365 helpful in demonstrating the continuity and changes in trends of reuse over time, as does the brief epilogue that brings the concept of upcycling into the present day with a short case study on the Tomb of the Unknown Soldier that stands before the Greek Parliament Building in Syntagma Square, Athens. Here Rous demonstrates that upcycling is not a term beholden to a particular time or place. Overall, Rous’s book and her articulation of the concept of upcycling are important contributions to the fields of archaeology and ancient history. Throughout, she highlights the inherent flexibility of the term and clearly distinguishes it from the more neutral “reuse” and the value-laden “spolia.” Attention to social memory is a crucial part of Rous’s conception of upcycling and although it is not laid out as convincingly as the concept of upcycling itself, it remains an important avenue for thinking through the ramifications of deciding if something is upcycling, recycling, or spolia. Ultimately, Rous’s promotion of upcycling as a means of gaining traction on specific types of ancient reuse is a compelling model for scholars examining reuse, visibility, and deliberate choice in the archaeological record. College of William and Mary Jessica Paga Rhetoric and Innovation in Hellenistic Art. By Kristen Seaman. Cambridge: Cambridge University Press. 2020. Pp. xv, 186, 8 color plates. In this volume K. Seaman explores innovations in Hellenistic art, which she connects with the growing impact of rhetorical exercises (progymnasmata) in the intellectual training of Greek artists and viewers. She begins by examining the major theories concerning these innovations (Chapter One) and criticizes the assumption that they resulted from cultural hybridization and the encounter of Greek artists with Egyptian or Near Eastern culture, suggesting rather that the artworks produced at Hellenistic courts were marked by the artists’ familiarity with rhetorical exercises. She offers three case studies , each presenting a famous Hellenistic work of art as the visual equivalent of one of the progymnasmata: the Telephus Frieze of the Pergamon Altar as the equivalent of a diegema, narration (Chapter Two); a reading of the so-called “Apotheosis of Homer” as an enkomion involving ethopoiia (Chapter Three); and a study of the connections between Sosus’ Asarotos oikos and ekphrasis (Chapter Four). This book is a welcome attempt at bridging the gap between the study of visual art and literary works.1 However, a caveat seems necessary: although there is probably no hybridization in the three artworks Seaman studies, other scholars have effectively shown that some literary works and visual creations of Hellenistic Alexandria were influenced by the encounter with Egyptian culture and contain references to Egyptian language or religion.2 It seems to me that many factors should be taken into account when trying to explain the innovations of Hellenistic art, and that hybridization has a rightful place among them. 1 See G. Zanker, Modes of Viewing in Hellenistic Poetry and Art (Madison 2004); P. Linant de Bellefonds and É. Prioux, Voir les mythes (Paris 2017). 2 For example, P. Moreno, Scultura ellenistica 1 (Rome 1994) 326–329; J. Trinquier, “La mosaı̈que Barberini de Palestrina et l’image de la faune éthiopienne dans l’Égypte lagide,” in F.-H. Massa-Pairault and G. Sauron, Images et modernité hellénistiques (Rome 2007) 23–60. 366 PHOENIX Chapter One presents a detailed analysis of the Telephus Frieze. Seaman argues that the Frieze should be understood as a diegema and, more specifically, as a bios of Telephus. She also contends that this visual narration was a complete innovation in Greek art (e.g., 52). Although Pergamene art certainly brings narration to an entirely new level, I am not convinced by Seaman’s theory on the absence of narratives in earlier Greek art: see, for example, the widely accepted reconstruction of the sequence of metopes on the South Side of the Athenian Treasury in Delphi. I also disagree with the statement (55) that the scenes on the “Homeric bowl” showing the death of the suitors3 are in the wrong order. It is true that the archaeological drawing reproduced by Seaman encourages this conclusion by showing, from left to right, scenes corresponding to: (a) Od. 22...

Framing Black Performance

Recent African American film scholarship has called for an attention to the structures of black representation on screen. This work echoes the calls made in the 1990s by black feminist film and cultural scholars to resist the allure of reading for racial realism and to develop more appropriate critical tools and terms to acknowledge black artistic innovations. This essay takes up and reiterates that call, drawing attention to the problems of film interpretation that attend to a version of historical analysis without an understanding of form and medium. Foregrounding film as a terrain of struggle, the essay mobilizes an analysis of the 2014 film Selma to illuminate the multiple resonances of the concept representation. Focusing on the film’s representation of women and girl characters, the essay argues that cinematic play with the terms and conditions of representation comment powerfully on the limitations of cinematic and historical discourses to speak about the black femme as a political subject. Analysis of Selma exposes the key problems of reception and criticism facing contemporary African American film. The film speaks to the failure of de jure representational regimes in post–civil rights movement America and offers up the cinematic terrain as an important twenty-first-century site of African American struggle.

“PENNY DREADFUL” И НЕОБАРОЧНАЯ ПОЭТИКА ТРАНСГРЕССИИ

The article is devoted to the poetics of the television series Penny Dreadful (2014-2016, written by John Logan) as one of the original examples of contemporary neo-Victorian culture. Its eclectic intertext is reconstructed, including references to the sensational culture of the Victorian era (Penny Dreadfuls, Grand Guignol), the seminal texts (“Frankenstein”, “Portrait of Dorian Gray”, “Dracula”, etc.), biographies of individual historical fi gures (John Clare), contemporary neo-Victorian novels, fi lms and TV series. Th e artistic innovation of the creators of the series is revealed both at the level of textual self-refl ection and creative adaptation; and at the level of its Baroque poetics, which proves to be close to twenty-fi rst century sensitivity with its characteristic problematization of deviance, alterity, monstrosity, as well as the transgression of moral, physical, religious and cultural boundaries. Th e following neo-Baroque strategies are distinguished: theatrical tropes, and various embodiments of the idea of Th eatrum Mundi, ecstatic mood and dramatization, visual excess, images of the labyrinth, reduplication, intentional eclecticism.

PLASTIC WASTE AS BOTH SOURCE OF INSPIRATION AND MEDIUM FOR CONTEMPORARY ARTISTS

Amidst the technological, social, economic, and cultural developments of the past few decades, the notorious environmental problem seems to be exacerbated, overshadowing any glimmer of optimism about the future of planet Earth. This is largely attributed to the thoughtless production and use of plastic products, but mainly to their reckless management as waste. Oceans, rivers, lakes, and many terrestrial areas of the planet suffocate under the masses of synthetic objects that displace any form of life. The voices of despair are getting louder and louder all over the world, but governments in many countries pretend to hear nothing. Nevertheless, protest reactions coming from the world art and design community constitute an important visual, functional, as well as a sociopolitical movement with multiple goals.This article does not simply aim at describing and analyzing the environmental problem through the aggravating presence of plastic waste. Its main purpose is to comment on and decode the works of selected artists from all over the world, works which are exclusively inspired and made of plastic trash. Overall, their work constitutes a form of artistic innovation and, at the same time, a form of severe protest and activism which aims at awakening the world aesthetic, and mainly environmental consciousness.

Craft and Hardship

In this symposium, we collectively explore the interplay between craft and various forms of hardship, including isolation, poverty, displacement, mental illness, and gender-based marginalization. Today’s society is experiencing a revival of craft and recent studies associate craft work with positive social outcomes, whether at the individual, organizational, communal, or societal level. For instance, craft work is regarded as more meaningful compared to common forms of work common in modern organizations that is described as alienating or exploitative. Similarly, the revival of craft has been touted as a more optimistic path toward the preservation of human skill or local community in the face of ongoing digitalization and globalization. In spite of these, often implicit, positive assumptions about craft, we have surprisingly limited empirical work that explores the value and nature of craft work. In this symposium, we bring together four studies that consider how craft may alleviate individual and communal “hardships” and, vice versa, how the experience of hardship may influence the practice, persistence and outcomes of craft work. By exploring various forms of hardship and tackling the relationship with craft from various perspectives and levels of analysis, the symposium will aim to advance understanding of the intrinsic and practical benefits of craft organizing in society. Knitting Renaissance: Emotions in Counteracting Hardships in Socially Innovative Craft Businesses Presenter: Ines Peixoto; Aalto U. Presenter: Gloria Kutscher; Aalto U., Department of Management Studies Gendered Expectations and Artistic Innovations Presenter: Eun Young Song; U. College London Exploring the Role of Hardship in the Persistence of a Folk Craft: The Case of Koniaków Lacemaking Presenter: Monika Zebrowska; U. of Cambridge Presenter: Jochem Kroezen; U. of Cambridge Syrian Women Refugees: Transforming Identities Through Craft Work During High Uncertainty Presenter: Sophie Alkhaled; Lancaster U. Management School Presenter: Innan Sasaki; Warwick Business School

Street art as a sustainable tool in mature tourist destinations: a case study of Barcelona

ABSTRACT Tourism is one of the activities most urgently in need of innovation and creativity to keep the boom going. This paper seeks to understand how mature destinations and tourism managers devise innovative and sustainable solutions in everyday practice. Current trends in demand call for active experiences that generate emotions, stir up feelings, present content, and provide a dose of pleasure. The case study presented here is an innovative street art project called Pinacoteca a Cel Obert (Open-Air Art Gallery), a clear example of reactivation, recovery and urban development that involves the local population and associations as part of the local government’s drive to encourage community participation and empower change with regard to urban issues. The viability and sustainability of this commendable example are analysed through in-depth interviews with the respective project managers, the guides who run the tours and the visitors who have participated in the tour.

ACTIVITIES OF THE INNOVATIVE PROJECT “TREASURES OF THE NATION” BY THE SCIENTIFIC LIBRARY OF THE KYIV NATIONAL UNIVERSITY OF CULTURE AND ARTS

The purpose of the article is to provide review and analysis of the results of the innovative arts and cultural project “Treasures of the Nation” by the Scientific Library of the Kyiv National University of Culture and Arts. The project is to popularize the intangible cultural heritage of Ukraine, already protected by UNESCO and promoted to the Representative List. The research methodology involves the use of a historical and analytical approach to collect and analyse primary data; the content analysis of purposes, objectives and results; prognostic method to summarise and conceptualise the significance and role of the project in the study and facilitation of the intangible cultural heritage of Ukraine. The scientific novelty consists in keeping students and experts, who research the intangible cultural heritage, informed on the Scientific Library experience in implementing the “Convention for the Safeguarding of the Intangible Cultural Heritage”; about the structure of the e-resource “Intangible Cultural Heritage of Ukraine”, its information and bibliographic content. Conclusions. The project objectives and activities during 2014–2019 are considered. The backgrounds for the implementation of the project and its purposes are highlighted, the main one is the popularization of Ukrainian elements included by UNESCO in the Representative List of the Intangible Cultural Heritage of Humanity. The main attention in the article is focused on the results through three parallel activities: informational, bibliographic, and educational. The role of the project in the development of communication between scientific institutions of different countries involved in the preservation of cultural heritage is disclosed. We are talking about the joint organization of the International Research-to-Practice Conference- Festival “Intangible Cultural Heritage of Ukraine as a Modern Tourism Resource: Experience, Practice, Innovation” by the Faculty of Tourism, Hotel and Restaurant Business of the Kyiv National University of Culture and Arts and the Scientific Library. The main objectives of the conference is a comprehensive scientific review of the current state of the elements of the intangible cultural heritage as a national tourist resource in Ukraine and foreign countries.

FINIS: Objects of the End of Time, Afterlife Writing and Situation of Graves

Focusing on Hogarth’s last graphic work, The Bathos, this essay examines the ways in which the vanitas themes it represents are bound up with events that occurred towards the end of the artist’s life. Drawing on life writing (including elements of Hogarth’s autobiographical notes) that accompanied the cataloguing of his works in the years following his death, it discusses a number of controversies that drew scathing criticism of his work, his character, his politics, his ideas about English art and his standing as an artist, during his final years. Focusing on textual and visual images employed by Hogarth’s detractors to belittle him, it explores how these metaphors may be connected with the iconography he employed in The Bathos, and the extent to which the work may be ‘read’ as a representation of the artist himself, and his view of his reputation at the end of his career. Contrasting the pessimistic image Hogarth presents in his final work with the afterlife writing of his achievements by his contemporaries, it concludes with reflection on the role that his grave continues to play in celebrating his life and his status as one of the most talented and innovative artists of the eighteenth century.

Terminus 1900: The Métro and the Universal Expositions in Fin-de-siècle Paris

ABSTRACT In 1900, two spectacles of technological progress, artistic invention, and political ambition were unveiled in Paris: The universal exposition and Line 1 of the Paris Métro. This essay considers schemes for underground and elevated Métro systems that were published from 1870 to 1900 and argues that these speculative designs map new configurations of technology, urban space, and cultural identity onto fin-de-siècle Paris. Ultimately, Métro projects function as showcases of the modern city, and they draw on and participate in the promotional logic and narrative of national pride on display at the contemporary expositions.

The Aesthetic of Islamic Calligraphy and Ornamentation in Prophet Mosque Interior of the Calligrapher Abdullah Zuhdi (Al-Masjid An-Nabawi)

Islamic Calligraphy and ornamentation are using to decorate mosques as well as other sacred places all over the Islamic world. This paper provides some sources of information for understanding and studying Islamic calligraphy and ornamentation in the Prophet Mosque interior (Al-Masjid An-Nabawi). Indeed, this paper aimed to highlight the formation aesthetics of calligraphy and Islamic decorations in which the aesthetic values. There are many aesthetic values of the Islamic calligraphy and ornamentation that portrayed in the Prophet Mosque interior. The Prophet Mosque has been selected in the present research due to the uniqueness in its calligraphy and ornamentation. Abdullah Zuhdi a calligrapher who was known as the calligrapher of the two holy sanctuaries (katib al-haramayn). The calligraphy and ornamentation in the Prophet Mosques are testifying to the skill of the master calligrapher. The principles of aesthetics in calligraphy and ornamentation based precisely on the principles of the beauty of Islam. After Islam, calligraphy was one of the most important kinds of art in Islamic world as well as one of the essential features of Islamic civilization. This study aims to show the necessity of studying Islamic calligraphy used in the Prophet Mosque interior as well as to display some Quranic verses that been written above the tomb of the Prophet Muhammad. The Prophet Mosque located in Medina city in Saudi Arabia as a model simply because it was one of the first mosques built by Prophet Muhammad and it has the fantastic and historical calligraphy and ornamentation that have a long history. The study has revealed that the calligraphy and ornamentation in the Prophet Muhmmad Mosque considered as an innovative art through its dependence unique Thuluth script and intricate pattern of Islamic motifs, the Muslim artist creativity expressed about the sacred calligraphy and highlighted the global nature of the decoration.