Artistic Purposes Research Articles

Инклюзивный язык в художественном переводе (на материале переводов романа А. Кристи «Десять негритят»)

This article performs a comparative analysis of diachronic translations of Agatha Christie’s novel Ten Little Niggers/Ten Little Indians/And Then There Were None (intralingual translations into American English and interlingual translations into French, German and Russian) in terms of adequacy of literary translation and following the norms of inclusive language. The paper found that the intralingual translation into American English is a culturally determined adaptation of the original text excluding culture-specific concepts perceived differently in the American culture. While classical interlingual translations of the novel into German, French and Russian follow the norms of adequacy and equivalence, modern interlingual translations reflect the desire of translators to make various lexical and lexico-grammatical transformations in order to avoid invective vocabulary, which often leads to the loss of text-forming dominants of the novel (the modern translation into French is such an example). Further, the importance of preserving the intertext, which reflects the author’s artistic intention, is demonstrated. The symbolic dominants of the novel are considered here in their historical and sociocultural context. It is concluded that these dominants are closely related to the collective ideas about racial differences in the second half of the 19th and early 20th centuries. Moreover, it is shown that following new language norms in translation should not violate the unity of a literary work; hence the importance of conveying the author’s intention and the historical and sociocultural context of the work. Finally, recommendations are given to translators as to finding a balance between the requirements of political correctness and adequacy of translation.

Border Threads

The art project Border Threads was based on mobilising a collaborative art community across international borders within a time frame of five months. The collaborative community had subcommunities and individual participants in five countries. In addition, individuals participated at three open workshops in Oslo. Many among these participants were refugees in exile in Syria, Lebanon, Greece and Turkey.
 This article discusses how artistic intentions and ethical issues of user involvement in art constitute a driving force for the methods used in the project Border Threads, a collaborative artwork in the form of a textile tapestry consisting of more than 300 individual textile artworks reflecting the participants thoughts about borders. Working with subcommunities encompassing school classes in Norway and Syria, a women’s collective in Turkey, a network of women in Lebanon, and a group of women in a refugee camp in Greece, the project addresses questions about community relations, representation of others, and about contributing to something meaningful when working with participants in a collaborative art project. Discussions of these questions are based on theory from various disciplines, mostly art theory, and evolve around topics such as artistic intention, self-reflection, community building, time, participant payment, and ethics in general.
 The article describes how using methods, experience and existing networks from an interdisciplinary background within art, ethnography, social sciences, innovation, welfare services and activism was important throughout the project. Following the discussion and a retrospective reflection on the process, some proposals are outlined for further development of the Border Threads project.

Gendun Chopel: Tibet's First Modern Artist

Gendun Chopel: Tibet's First Modern Artist

A Strata-Based Approach to Discussing Artistic Data Sonification

Abstract Much discussion surrounding data sonification for musical and artistic purposes focuses on seeming contradictions that arise from the ways in which this practice differs from that of data sonification as a scientific tool. Over the past 30 years, this debate has become a rabbit hole of questions and arguments regarding the nature of music/sound-art and data sonification, and of their relationships with one another. In the following article, the authors identify three areas/classifications of artistic sonification, using a “strata” metaphor with the hope of bringing clarity to this discussion, as well as enabling reflection on the nature of science-art collaborations using this approach.

A experiência da inclusão: o primeiro edital de longa-metragem com cotas de gênero e raça na Agência Nacional do Cinema do Brasil

In March 2018, the Brazilian National Film Agency - ANCINE announces a call for the financing of featurelength films with an originality: quotas for cisgender or transsexual/transvestite women directors and black or indigenous people. In addition to the traditional regional quotas providing for 30% of the financial resources for the North, Northeast and Central-West regions and 10% for the South region and the state of Espírito Santo, it was included the participation of minority groups in a national call for production support through resources from the Audiovisual Sectorial Fund - FSA, a modality of direct investment. The income of this national fund is delivered via CONDECINE - Contribution for the Development of the National Film Industry, a tax paid by several Brazilian audiovisual sectors whose application is exclusive in the market. That’s why currently it is said that the incoming resources of FSA are self-generated. The call for production support in question presented resources of 100 million reais divided into two modalities: one focused on fiction, documentary and animation feature-length films, without distinction of commercial or artistic objectives; and another focused on feature length fiction, documentary and animation films with an emphasis on an authorial profile and evident artistic purposes. Within the total, a minimum of 45% were directed to quotas. The purpose of this communication is to present the process that led to the decision to include quotas registered from the registration in the minutes of the Management Committee of the Audiovisual Sectorial Fund meetings; the selection’s criteria of projects based on the public call for selective subsidies; and the results achieved. The results will be analyzed not only from the perspective of final approval, but also by evaluating the current state of the films. The assessment gains importance not only from the point of view of the unprecedentedness - it was the first time in 10 years of the FSA operation in which minority quotas were considered - but also from the current political situation in Brazil in which the inclusion agenda is questioned.

The perceived value of human-AI collaboration in early shape exploration: An exploratory assessment.

As a vital element of early shape exploration, divergence can be time-consuming and challenging, with iterative cycles where idea fixation and creative blocks must be overcome for fuzzy ideas to be fully expanded and understood. Despite interesting tools that have been developed for this purpose, some important challenges remain, as it appears that many designers still prefer simple freehand sketching and tend to defer the use of computational tools to later stages. This work presents an exploratory assessment of the perceived value of a new tool, Shapi, developed to assist early shape exploration by addressing some of the pitfalls reported in the literature. Shapi is envisioned as an autonomous assistant that provides local and global shape variations in the form of rough sketches based on an initial human sketch and interactive cycles. These shape variations are What-If scenarios and cognitive facilitators that may spark new ideas or enable a deeper understanding of the shape and the identification of interesting patterns. Shapi’s capabilities are explored in a diverse set of case studies with different purposes: nine implementations in industrial design, three in graphic design, and five with open-ended artistic purposes. These implementations are then used in a survey about initial perceived value in which the majority gave high ratings in terms of exploration (75.5% ≥ 4 out of 5), interpretation (83.7% ≥ 4), adaptation (77.6% ≥ 4), value (73.5% ≥ 4), creativity (69.4% ≥ 4), and general interest in the tool (79.6% ≥ 4). This work brings insight into promising functionalities, opportunities, and risks in the intersection between artificial intelligence, design, and art.

Can Artificial Intelligence Make Art?: Folk Intuitions as to whether AI-driven Robots Can Be Viewed as Artists and Produce Art

In two experiments (total N = 693), we explored whether people are willing to consider paintings made by AI-driven robots as art , and robots as artists . Across the two experiments, we manipulated three factors: (i) agent type (AI-driven robot vs. human agent), (ii) behavior type (intentional creation of a painting vs. accidental creation), and (iii) object type (abstract vs. representational painting). We found that people judge robot paintings and human paintings as art to roughly the same extent. However, people are much less willing to consider robots as artists than humans, which is partially explained by the fact that they are less disposed to attribute artistic intentions to robots.

Kolyma Stories

Kolyma Stories

INTERFERENCE OF NON-ARTISTIC LINGUISTICCULTURAL CODES IN ARTISTIC DISCOURSE (NEWSPEAK IN S. WIECHECKI’S AFTER-WAR FEUILLETONS)

The subject matter of the paper is the interference of the Polish variant of Newspeak with wiech, i. e., the Warsaw vernacular as reflected in S. Wiechecki’s after-war feuilletons. The authors show how several Newspeak lexical items occurring in the speech of Wiechecki’s characters are used, besides denoting realities of life in Communistgoverned Poland, also to express a wide range of additional senses and attitudes, from mere playing on officialese to implicit irony and, further, criticism and negation. In doing this, these items change their meaning or otherwise adapt to wiech, serving artistic purposes of satirically portraying, along with other everyday existence paraphernalia, nowomowa itself. The reception and interpretation of these nowomowa entities by wiech are considered a variety of language self-defence (as understood by A.Wierzbicka), with nowomowa used by Wiechecki’s characters mostly in an unorthodox and creative way, notably in parody, burlesque, and even travesty. Generalizing the conceptual and methodological framework in which the study has been carried out and observations made substantiates the authors’ contention that it is both possible and feasible to use the concept of linguistic contacts and interference more broadly, applying it to any theoretically or practically significant instance of such idiom interaction, both interlingual and languageinternal; also, that in researching contacts and interference, one must take into account language entities and their features as well as linguistic-cultural codes to which they belong and functional varieties of discourse realizing these codes, as it is within these specific discursive varieties that language entities actually function, idiom interference takes place, and linguistic borrowings are made.

Calidad de la voz cantada en sopranos. Influencia del texto y el acompañamiento musical en el canto de ópera

Introduction and objectivesOpera singing voice uses different technical tools for artistic purposes. We want to define if the quality of the sung sound is affected by an aware work on the musical accompaniment and the text. We analyze the acoustic signal and the subjective perception. The pitch studied in the soprano voice is A4 (880Hz) with the vowel /a/. We have chosen a tone and a vowel that can be generated by different strategies in terms of phonoresonance adjustments. Materials and methodsWe have carried out a prospective study with 20 sopranos, without voice pathology, who have sung a phrase from the aria Deh, vieni non tarda and another from the aria Dove sono i bei momenti from the opera Le nozze di Figaro, by W.A. Mozart. First, each phrase sung spontaneously was recorded and then a second time, after a proposed work on the content of the text and musical aspects of the accompaniment such as: rhythm, harmony, texture and direction of the phrase. The participants prolonged the emission of the A4 for more than three seconds, maintaining the context of the sentence. The acoustic signal has been analyzed using the PRAAT program and a VAS (Visual Analogue Scale) questionnaire has been used to collect subjective perceptions. ResultsThe mean age was 36±11 years (range between 20 and 58) and the mean number of years singing was 17±12 years (range between 3 and 35). No statistically significant differences were found, although an improvement in the VAS was seen in the second sentence after the intervention. ConclusionsThe acoustic analysis parameters are stable, and the VAS tends to improve when an awareness of the text and the instrumental accompaniment is carried out.

Способы семантизации диалектной лексики в региональной художественной прозе и устной речи диалектоносителей

The semantics of geographically limited vocabulary is considered in the aspect of the actual problem of interaction and interpenetration of lexical systems of literary language and dialects. The material extracted from literary texts (prose by Volgograd writers) and the converse of the Don Cossack dialects speakers living in the Volgograd region (records made by the expeditionary method and direct interview of informants at the points of dialectological survey of territories within the program of the Lexical Atlas of Russian Folk Dialects) is compared. Contextual and graphical methods of dialectisms semantization are described. The linguistic techniques of revealing the meanings of dialect words with the help of literary analogues, as well as various markers signalling the inclusion of an element that is not commonly used in the utterance, are determined. The models of using the appropriate language means formed on the basis of the constructive principle of their organization for the disclosure of the ideological and artistic intent of the work are characterized. It can serve as a means of updating and enriching the expressive fund of the Russian language, or for the purpose of adequate understanding in communication of different speech culture representatives the subject-conceptual correspondences of linguistic units. The general and special techniques of direct and indirect semantization of lexical units are revealed. They reflect the artistic-figurative and visual-symbolic concretization of reality in the perception of the world. The functional role of the vocabulary under consideration as a resource-forming element of the modern Russian literary language is substantiated.

Alternatives to Love: Indian Cinema Reinvented in Greater Asia

As conventional Bollywood continues to thrive, independent productions supported by Netflix and other streaming apps are embracing more insurgent themes and challenging storylines. While Netflix steers its Asian production arm toward South Korea, India remains a vital focus on the world cinema scene. Following the lead of maverick actor/producer Amir Khan in the wake of Dhobi Ghat (2010), films such as A Death in the Gunj (2016) and Sir (2018) not only feature women’s themes but aggregate the colour and movement of Indian cinema while enlisting serious subject matter. Netflix and other streaming apps may provide a vital platform, but the traditions of culture and cinema predate this distribution opportunity by centuries.
 Drawing from film theorists such as Ashvin Devasundaram, Madhuja Mukherjee, Chidananda Das Gupta and Neelam Sidhar Wright, I examine the two exemplary films as textual analysis and story-based in a historical context. Along with the influence of Hindu mythology, this paper seeks a template for effective, globally relevant cinema which does not pander to Edward Said’s notion of Orientalism. While considering the storytelling traditions of Rabindranath Tagore and Satyajit Ray as literary and cinematic voices, this paper also consults Western screenwriting gurus Stephen Cleary and Robert McKee in its search to support the artistic aims of streaming-based art cinema from India. India, especially at this time of pandemic crisis, deserves to be championed for its centuries of unrivalled artistic achievement and unparalleled cinematic exuberance.

Baritone in M. Lysenko’s vocal chamber works

Statement of the problem. Mykola Lysenko (1842–1912) as the founder of Ukrainian musical culture has a multifaceted influence on the development of most of its genres. A significant part of M. Lysenko’s creative heritage consists of vocal genres, including opera and cantata, ensembles, choirs, solo art songs, and folk arrangements. This fact is quite natural, since the composer built his creative method on the basis of a thorough study and assimilation of Ukrainian song folklore. Despite the regular coverage in the musicological literature of various aspects related to M. Lysenko’s heritage, in particular chamber vocal works (the recent monographs by R. Skorulska & M. Chueva (2015), S. Verhun, I. Koliada, & Yu. Koliada (2015), articles by H. Karas (2019), L. Bozhko (2013), B. Filts (2014), N. Kharandiuk (2013), B. Kosopud (2017), V. Mitiushkin (2020), Ye. Avramenko (2020), A. Polkanov (2021), O. Bassa (2011) and others), the issues related to the role of the baritone in the composer’s solo songs were actually not involved in scientific studies. Such a situation encourages the intensification of research in the indicated direction and determines the scientific novelty of the obtained results. The purpose of this study is to determine the peculiarities of the baritone’s role in M. Lysenko’s solo songs. The research methods that contributed to the achievement of it were the musicological, semantic and comparative analysis of selected samples of M. Lysenko’s chamber vocal work, as well as the technological analysis of the vocal timbre-role specificity. Results and conclusions. The characteristic features of Lysenko’s vocal chamber works, which relate to the selection of poetic texts, genre typology, and the choice of timbres were examined in the study. Four solo songs for baritone were chosen for analysis. The selected samples were considered taking into account the following aspects: belonging to a certain genre group, ways of form organization, harmony features, nature of the piano texture. A separate point of analysis was the use of expressive capabilities of the baritone timbre in connection with the artistic intent of the songs and some technical characteristics of the voice: the covered range, registers, use of resonators, etc. The results of the analysis allowed us to come to the conclusion that in M. Lysenko’s chamber-vocal work, baritone solo songs are mostly “monologues” of dramatic and socially significant content. In order to embody the corresponding semantic content, the composer chooses namely the baritone – because the low register of the human voice or instruments in musical art often appears as a means of creating dramatic, tragic, philosophical images. So, the baritone in M. Lysenko’s chamber and vocal creative work is mainly the bearer of the lyrical and dramatic principle supplemented by a philosophical component.

Sketch2Pose

Artists frequently capture character poses via raster sketches, then use these drawings as a reference while posing a 3D character in a specialized 3D software --- a time-consuming process, requiring specialized 3D training and mental effort. We tackle this challenge by proposing the first system for automatically inferring a 3D character pose from a single bitmap sketch, producing poses consistent with viewer expectations. Algorithmically interpreting bitmap sketches is challenging, as they contain significantly distorted proportions and foreshortening. We address this by predicting three key elements of a drawing, necessary to disambiguate the drawn poses: 2D bone tangents, self-contacts, and bone foreshortening. These elements are then leveraged in an optimization inferring the 3D character pose consistent with the artist's intent. Our optimization balances cues derived from artistic literature and perception research to compensate for distorted character proportions. We demonstrate a gallery of results on sketches of numerous styles. We validate our method via numerical evaluations, user studies, and comparisons to manually posed characters and previous work. Code and data for our paper are available at http://www-labs.iro.umontreal.ca/bmpix/sketch2pose/.

The system of images and the image of the poet in the poems of M. Akhmedov

The subject of this article is the artistic features of the system of images and the image of the poet in the poems of M. Akhmedov. The system of images in the poems of M. Akhmedov is an integral mechanism that reveals the results of the poet's tireless artistic search, interprets many answers to the questions of the person and the poet. Modeling the poet's image in the system of images is not a new phenomenon in Avar poetry, nevertheless, it is an attempt by the poet to draw the reader's attention to universal problems again, to reveal the poet's vocation and the significance of his image in a new way, both in the system of images of the poetic text and in the consciousness of the poet himself, man and society. The object of the study is the image of the poet and the system of images in the poems of M. Akhmedov. The purpose of the work is to identify characteristic artistic techniques in creating the image of the poet, which occupies a significant place in the system of images of M. Akhmedov's poems, in understanding the essence of the artistic image, its dynamics and connections with the integral figurative system of the poet's poems. The scientific novelty of the research is due to the fact that the artistic analysis of the system of images and the image of the poet in the poems of M. Akhmedov in this aspect was undertaken for the first time. The obtained results showed that the artistic structure of the poet's image and the figurative system in the poems of M. Akhmedov allows to reconstruct, expand the poetic concept of the world order, to allocate a well-deserved place in it to the poet-man. The study of details related to the author's artistic intention showed the deep ideological content of M. Akhmedov's poems, as well as important features of the author's worldview. The theme of the poet and poetry, which is revealed through the image of the poet and the figurative system of M. Akhmedov's poems, evolves in the ways of cognition of life and the image of man and society.

An Expression of Oriental Values and Humanity in Abdulla Aripovs Poetry

Annotation: This article examines the work of Abdulla Aripov and his unique style of depiction, the poetic aspects of the expression of national values, the author's skill, the depiction of humanistic ideas in harmony with the creative personality. Keywords: literature, humanity, national spirit, literary images, idea, theme, oriental image, art, etiquette, wisdom, artistic intention;

مُخَالَفَةُ القِياسِ النَّحويِّ في شِعْرِ اِمْرِئ القَيْس

تناولَ هذا البحثُ قضيةً هامةً من قضايا علمِ النحو، هي ظاهرةُ مخالفةِ القياسِ النَّحويِّ لدى امرئ القيس، إذ إنَّ ظاهرةَ مخالفةِ القياسِ ظاهرةٌ شائكةٌ إلّا أنّها منتشرةٌ في ثنايا كُتُبِ النَّحو، فلا يكادُ يَخلو كتابٌ من كُتُبِ النَّحو إلّا وَضَمَّ مجموعةً من أوجهِ مخالفةِ القياسِ، وهذا ما سيحاولُ البحثُ إلقاءَ الضوءِ عليهِ وتفسيرهِ من خلالِ تحديدِ أهمِّ المخالفاتِ التي وقعتْ في شعرِ امرئ القيسِ، وبيانَ رأي النحاةِ فيها، بَينَ مُبرّرٍ لهِ وبينِ مُستنكرٍ عليهِ، وإنْ كان خروجُهُ هذا في أغلبهِ كان من بابِ الضرورةِ الشعريّةِ لا من بابِ تمرّدِهِ على قواعدِ اللغةِ، إذ اعتبرهُ النُّحاةُ خروجًا مقبولًا لَهُ أمثلةٌ مشابهةٌ لدى غيرهِ من شعراءِ عصرهِ أو ممّن لاحقوا بهِ من العصورِ التاليةِ لعصرهِ، لأنَّ المعنى المرادَ قد يتطّلبُ خروجًا عن المشهورِ والمُطّردِ في الاستعمالِ لتحقيقِ أغراضٍ فنيةٍ وجماليةٍ في نظمِ القصيدةِ، لذا ينبغي ألّا ننظرَ إلى اللفظِ بمعزلٍ عن التركيبِ كما فعلَ بعضُ النُّحاةِ ممّن عَابَ كَلَّ خروجٍ عن مقتضى الظاهرِ في القياسِ.

ANATOMICAL AND PHYSIOLOGICAL TERMINOLOGY IN THE AUSTRIAN EXPRESSIONIST LITERATURE

Anatomical and physiological vocabulary is used in Expressionism for a range of specific artistic purposes. The paper identifies the situations, in which such lexical units are used and analyzes the purpose of their application in the context of Austrian Expressionist literature. Along with references to the most important theoreticians and experimentalists of Austrian Expressionism, the present research is largely based on the prose by Gustav Meyrink (1868-1932). The research demonstrated that the vocabulary of human anatomy and physiology in Meyrink’s prose effectively implements specific Expressionist intentions: (1) anti-aesthetic strategy and revolt against the classical canons of beauty; (2) erosion of the frontiers between the literary discourse and non-textual reality; (3) designing the atmosphere of horror and shocking the burghers; (4) synaesthetic word-formation for the purpose of lexical “condensation” of images; (5) the motif of conflict between the father and the son; (6) development of the grotesque image of the City through the techniques of synecdoche and hyperbole; (7) reconstruction of the divine component that would unify people. In addition to a range of classical Expressionist intentions, Meyrink’s prose also employs the anatomical vocabulary for the manifestation of intellectual sensualism, which is typical of Viennese Expressionism. Thus, the analysis of Gustav Meyrink’s prose demonstrated the author’s deliberate choice of anatomical and physiological terminological units, which gives us ground to conclude that the vocabulary of human anatomy and physiology constitutes an integral part of Expressionism in general, and a significant feature of Austrian Expressionist literature in particular.

Anatomical study of a human skull with multiple osteomas in a seventeenth-century Dutch still-life painting: bone morphology and artistic intention.

Skulls were frequently depicted in seventeenth-century Dutch still-life paintings. Skulls were interpreted as symbols of vanitas-meaning the evanescence of life-but their morphological features have received little attention. This study analyzed a skull with abnormal tumors in a seventeenth-century Dutch still-life painting by a renowned artist, Edwaert Collier (ca. 1642-1708), from anatomical, forensic, and pathological perspectives. The morphology of the cranium and teeth indicated that the skull likely belonged to a middle-aged female. We carefully diagnosed the abnormal masses as multiple osteomas on the skull and left femur, based on clinical studies and paleopathological literature, which reported lesions with a similar appearance to those observed in Collier's work. Furthermore, detailed observations of the cranial sutures and epiphyses of the long bones in his paintings revealed that the artist may have selected bones with a morphology that was suitable for the subject of vanitas. Collier repeatedly depicted the skull with metopism, the rare condition of having a persistent metopic suture in adulthood. A skull with a metopic suture is called Kreuzschädel, meaning the cross skull, because it forms a cruciform by connecting with the sagittal and coronal sutures. The artist might have chosen skulls with metopic sutures, which is reminiscent of the crucifixion of Christ, as an appropriate motif for the vanitas painting. This paper argues that anatomical analysis could explain the hidden meaning of the painting and disclose the fascinating collaborations between anatomy and art in the seventeenth-century Dutch Republic.

Anticipating Brazil’s Redemocratization in the Early 1980s

This article examines Preparação II (Preparation II, 1976) and Tarefa I (Task I, 1982), two works of video art produced by Brazilian artist Letícia Parente during the last phases of Brazil’s military dictatorship (1964–85). The actions recorded in these two videos directly respond to political and social transitions experienced in Brazil in the early 1980s: those implemented by the military government as a way to retain soft control of individual bodies, and those enacted by civilians as empowering manifestations of political participation for social change. This article argues that the explicit manipulation of female bodies in Parente’s work—the injection, labeling, and pressing down upon them—evokes the collective anticipation of Brazil’s redemocratization in 1985. Drawing from feminist and social art history approaches, I compare the strategies used by Parente in these two works of video art with the manipulation of female bodies for artistic purposes included in the artworks of Parente’s Rio de Janeiro-based contemporaries Lygia Pape and Anna Maria Maiolino. Examining how Parente’s videos bear witness to Brazil’s slow transition to democracy provides visual evidence of the ways in which national and international political powers inform individual (female) bodies by both enacting physical control over selected populations and catalyzing intersectional feminist movements.