Art Reproductions Research Articles

Tendances C1/C2 by Denis Liakin et al.

Reviewed by: Tendances C1/C2 by Denis Liakin et al. Eileen M. Angelini Liakin, Denis, Natallia Liakina, Gabriel Michaud, et Fabien Olivry. Tendances C1/C2. CLE International, 2018. ISBN 978-209-038-537-3. Pp. 208. Offering a range of authentic documents (videos, radio broadcasts, colorful artistic reproductions, infographics) from the Francophone world, Tendances is suitable for both secondary and post-secondary programs. Given its approach of relatable real-life "actionnels" scenarios and its focus on the use of language in purposeful and practical ways, Tendances is well suited for Integrated Performance Assessments (IPAs) based on Interpretive, Interpersonal, and Presentational Communication skills. Each scénario actionnel or lesson is spread across six to eight pages. There are eighteen lessons that are grouped into six units, with each unit being comprised of three lessons each. In preparation for the lesson's project, each lesson has clearly articulated objectives with [End Page 255] easily identifiable themes, communication activities, and timely cultural connections. The authors intended for Tendances to be a flexible resource. As each lesson is independent, it does not have to follow the previous one. Thus, the lessons can be conducted in any order according to the needs of the course structure and the course's learning goals and objectives. For example, for a course that focuses on current events, while paying heed to student sensibilities, the Réfléchir aux réalités politiques et sociales unit is appropriate. In Leçon 2–Intervenir dans un débat, the article "Vaccination... L'obligation fait débat" (UFC-Que Choisir Haute-Loire, 12 janvier 2018) and the activities structured around it are especially timely in view of the recent measles outbreak that has become a state of emergency in Washington and the ongoing debates over whether to vaccinate or not. For those desiring a more linear approach, the Entrer dans le monde du travail unit would be particularly pertinent in a Business French course in light of its three lessons that culminate in task-based projects. Taking into account the nuances of the French cover letter that make it distinct from the American one, this lesson is ripe for a class discussion on cultural differences that have an impact in the business world. For the Simuler un entretien d'embauche lesson, the communication activities are Se renseigner sur le poste et sur l'entreprise and Mettre en valeur ses compétences, the second of which can easily lead to expansion activities on vocabulary enrichment (synonyms for commonly-used adjectives). The Faire un stage en entreprise lesson's cultural connections (Les stages en France et en Suisse, Le rapport de stage, Les secteurs d'activité économique, La rémunération des stagiaires) will lead students to find answers for the practical questions and relevant concerns they might have about doing an internship abroad. Eileen M. Angelini East Carolina University (NC) Copyright © 2019 American Association of Teachers of French

Archaisms and their discovery in archetypal symbolism

The article presents the problem of archaisms, their energy influence on the human behavior in the integration unity with the ontological aspects of human development. The paper integrates the latest ideas of «non-classical psychology» (L. Vygotsky, A. Asmolov, D. El’konin, etc.), which determines the dynamics of the psychology development from statics to the psychodynamic approach to the study of the human psyche.
 The archaic heritage, as argued here, can not be studied independently from the personalized-individual human psyche. The article emphasizes the energу «doubling» (amplification and direction) of the psyche’s motivational potential due to its phylogenetic nature. The greatest achievement of the archaic heritage of mankind is the archetype as an instinct, which provides the ability to transcode the ideal psychic reality into the materialized and objectified one with the preservation of information equivalents. Therefore, it is impossible to perceive archaisms beyond the archetypal symbolism. The above mentioned explains the archaic origins of the successful use of the artistic works reproductions in the deep perception of the psyche.
 The article focuses on the archaism of guilt, which derives from the Oedipal complex and is also of an archaic origin. The category of guilt and the feeling of guilt respectively correlate with the conscious and unconscious aspects of the psyche. The effectiveness of «Super-Ego» is revealed in the guilt emergence.
 The article is completed within the psychodynamic paradigm and is based on the empirical material of the deep knowledge of the subject's psyche.

Логічний аналіз тексту як початковий етап навчання сценічної мови першокурсників

The article is devoted to the logical analysis of the text as one of the initial stages of training for firstyear students, on the example of excerpts from the movie story by O. Dovzhenko «Zacharovana Desna». The problem of student transition from everyday speech to the acquiring skills of artistic reproduction of the text, possession of the voice and speech machine was studied

Between Re-production and Re-presentation: The Implementation of Photographic Art Reproduction in the Documentation of Museum Collections Online

Museums extend their visibility beyond the physical institutions by providing online collections. By doing this, the museums seek to make a whole collection accessible to visitors online and, as a result, to make the cultural heritage accessible to a broader spectrum of society. Although the collections are represented under the inherent conditions of the graphical user interface, online collections are based on earlier forms of representation, and have implemented their principles. To find precursors and influences on current online collections the following research questions are discussed: What influence has photography had on the inventory processes and the visibility of museum collections? What kind of remaking happened with the combination of text and image in classifying systems at the turn of the 20th century? What effect has this early remake had on current online collections?This article explores one early remaking of a museum collection. The Museum fur Kunst und Gewerbe Hamburg (The Museum of Arts and Crafts Hamburg) started to use photography as an addition to text based classification systems. Contemporaneously the photographic reproductions were used as an illustration for the depicted museum objects in publications. The first employee of the museum, Wilhelm Weimar, primarily made sketches of museum objects and in 1897 started to photograph them. As a result 1700 glass plate negatives in three different sizes were produced, which mainly show museum objects or details of them. In this article the photographic art reproduction on glass plate negatives from Wilhelm Weimar are analyzed. In a second step the history of index cards introduces a classification system that became omnipresent in libraries and all kind of offices since the late 19th century. In the Museum of Arts and Crafts Hamburg index cards were illustrated with images, and prints mounted on cardboard provided more accessible representations of the depicted objects, which were held in storage.

CATALOGUES OF ENGRAVINGS – ITALIAN ONES FROM THE NATIONAL MUSEUM IN WROCŁAW AND FRENCH ONES FROM THE NATIONAL MUSEUM IN SZCZECIN

At the turn of 2017 and 2018, with the date 2017 printed in the colophon, two catalogues of engravings’ collections were published: old Italian prints from the collection of the National Museum in Wrocław, and French prints from the National Museum in Szczecin. The collection of Wrocław contains groups of artworks by the best Italian engravers from the Renaissance to the 18th century, and a small representation of the 19th century. An introduction to the catalogue gives the history, the scope and the contents of the collection as well as the brief history of the engraving art on the Apennine Peninsula. The catalogue itself is glossed, giving references to the latest research, preceded by biographical notes of encyclopaedic character. This well illustrated and thoroughly edited catalogue, organised in a user-friendly alphabetical order, is a compendium useful not only for art historians. The catalogue published by the National Museum in Szczecin has the same title as the exhibition of French engravings from its collection. It is a combination of both the exhibition and the collection catalogue. Hence its specific layout corresponding rather with the narration of an exhibition than a catalogue’s criteria. Both the encyclopaedic profiles of artists and the following glosses are accompanied by selected bibliography; its full version together with extensive academic references can be found at the end of the volume. The collection of over 600 prints has been divided not in alphabetical or chronological order but in accordance with an academic hierarchy of subjects. Engravings for art reproduction purposes prevail in Szczecin collection although original works of famous artists are also included. The publication of both catalogues allows us to learn more about the engravings in Polish public collections, i.e. the ones of national museum in Szczecin and Wrocław. It also gives the history of Polish collections after 1945, affected by the previous losses of the World War II. Undoubtedly, the sign of the times and the presence of Poland in the united Europe is the publication of the Italian engravings’ collection from Wrocław, which was kept before in the Academy of Arts in Berlin. Great care has been taken to prepare both catalogues in terms of their typography, although the illustrations in the French engravings’ catalogue would be of more benefit if were somewhat larger.

THE IMAGE OF A PERSON WITH DISABILITY IN FAIRY TALES AND FINE ART AS A REFLECTION OF THE ATTITUDE OF THE SOCIETY

The article, referring to the analysis of 36 fairy tales and fine art reproductions, attempts to decode the attitude of the society towards people with disabilities, their social status and potential opportunities. This topic has not been analysed from this aspect neither by philologists nor by the authors of special psychology. In fairy tales and examples of fine art the variety of attitudes towards people with disabilities has been encountered. A wide range of attitudes – from empathy to undisguised negative attitude – has been encountered.

GRAPHIC DESIGN OPPORTUNITIES FOR INTEGRATED APPROACH IN MUSEUMS IN REPRODUCTION OF ART TREASURES

Latest tendencies in museum accessibility, both in the world and in Latvia, show that the social status of museums is changing from a cultural institution for a narrow circle of interested persons to a meeting place open to society, accessible both intellectually and physically to different social groups. The research aim is to study the opportunities for the use of graphic means to disclose and give access to the collection of artistic property of Latgale Culture and History Museum (LCHM) to persons with vision impairment. With the information summarised, the authors invite to use the opportunities of graphic design and technologies in the creation of art reproductions, making the graphic image of the painting perceptible by touch, i.e. tactile, and thus accessible to persons with visual impairment. The novelty of the research on the scale of Latvia will be a supplement of tactile images to the album of the collection of art reproductions of LCHM, which includes tactile graphic images and corresponding descriptions in Braille for persons with vision impairment. At this stage of the research, empirical methods were used – interview and practical activity.The aim of the research: Study and research graphic design opportunities for the integrated approach in museums in the reproduction of existing art property to ensure its accessibility to persons with vision impairment, analyse the needs of the visually impaired in cooperation with societies and organisations in Latvia and design a scheme of practical activities for persons with vision impairment.

Coaching Method in Teaching History of Visual Arts to Students

Coaching method is used in sports, business, psychology, and economics as a method to increase performance. The great potential of coaching also expands its application in education, namely in teaching History of Visual Arts. The author identifies the basic stages of coaching: goal setting; reality check; courses of action and will to act. The last stage involves the following activities: developing a class road map, developing a presentation on artists, preparing an artist's portfolio, and completing the student portfolio, a game, and preparing a report, work with official sources like museum websites, studying art reproductions, and analytical work. Efficiency of the coaching method is demonstrated by the results of the experiment conducted at the premises of the Engineering and Technology Faculty of Elabuga Institute of Kazan Federal University. Performance was evaluated by the following criteria: 1) the average number of times an artist is mentioned by one student; 2) the highest and lowest number of artists mentioned by one student; 3) the number of artists mentioned by students at least once; 4) the number of times periods of history of visual arts are mentioned. The results were confirmed at the art-graphic faculty of M. Akmullah Bashkir State Pedagogical University. The results show a rather significant breakaway of the experimental group by every measure, which proves efficiency of applying the coaching method in teaching history of visual arts. As the study revealed, the coaching method has a rather significant potential as a teaching method, namely, for history of visual arts.

Fine Arts: 4. Proposals Regarding Work Strategies in Visual Arts Activities II. Creating an Interrogative Attitude

Abstract Between the age of six and eleven, children easily express themselves through drawing. After this age, there is a blockage due to the development of critical thinking. If during the 6 - 11 age stage children draw using symbol schemes, reporting what they remember and what they understood from what they saw, after the age of 10-11 (secondary phase) children want to draw what they see and thus they face challenges related to technical means and language specific for arts. In this regard, a mediation is necessary between the technical means and the artwork or reproductions of fine art (either in albums, or displayed on a screen) using guided questions. This process, that over the years of teaching proved its efficiency, contributes to the development of students’ imagination and creativity, and to the formation of a useful general culture.

Broke Blokes

This article centres on the 48 hour performance of Lad Broke on the 20th April 2012. The article addresses a range of ideas that have emerged in relation to the event of durational performance including the performativity of leftovers in an arts practice that gathers the debris of an affective labour, specifically chosen from within the context of the U.K gambling industry. By examining Lad Broke within the fields of performance art and wider cultural practices I draw on ideas of leftovers and artistic reproduction in a material sense while also discussing their contact with a performing body, suspended in an affective labour and its subsequent estrangement from the workplace to the event of writing. I discuss the politicality of leftovers in relation to neo-Marxist concerns around post-industrialisation and displaced masculinities, where labouring bodies, displaced from forms of material labour can be considered as living, human leftovers.Notions of competition, acquisition, accumulation, loss and disposability are all manifest in Lad Broke due to its thematic and formal obsessions with gambling, inscription and duration. These drivers are also utilised in a treatment and manipulation of materials in and through the body. In Lad Broke the symbolic, literal and fragile qualities of leftovers are emphasised in opposition to their normal everyday function. It is here that the act of writing, the manipulation of leftovers and the degradation of the performing body within an extended duration begins to describe the irrationality of a capitalist economy in relation to labour.The article develops ways of re-thinking the perceived space/time templates of performance and the reorganisation of leftovers as modes of presencing, while suggesting alternative models for their interpretation and dissemination. In this context, I propose that leftovers appear as illogical and contradictory objects – as strange gestures that seek to disturb ideas of social cohesion and institutional consent.

Gifts from Our Elders: African Artsand Visionary Art History

Gifts from Our Elders: African Arts<i>and Visionary Art History</i>

Writing American Cultures: Studies of Identity, Community, and Place

Book Review| July 01 2017 Writing American Cultures: Studies of Identity, Community, and Place Writing American Cultures: Studies of Identity, Community, and Place. Ed. Sam Schrager. (Olympia, WA: Evergreen State College Press, 2013. Pp. xxii + 249, introduction, bibliographies, 9 art reproductions, 9 black-and-white photographs.). Amy Shuman Amy Shuman The Ohio State University Search for other works by this author on: This Site Google Journal of American Folklore (2017) 130 (517): 369–371. https://doi.org/10.5406/jamerfolk.130.517.0369 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Amy Shuman; Writing American Cultures: Studies of Identity, Community, and Place. Journal of American Folklore 1 January 2017; 130 (517): 369–371. doi: https://doi.org/10.5406/jamerfolk.130.517.0369 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Scholarly Publishing CollectiveUniversity of Illinois PressJournal of American Folklore Search Advanced Search The text of this article is only available as a PDF. Copyright 2017 by the Board of Trustees of the University of Illinois2017 Article PDF first page preview Close Modal You do not currently have access to this content.

Foucault and Confucianism

Michel Foucault’s account of anonymous and mechanized disciplinary power has a curious resonance with Confucianism. He describes how feudal age sovereigns acquired individual status through “rituals, discourse, or artistic reproductions” which excluded the masses. This contrasts with disciplinary power’s function today, eschewing the ceremonial and genealogical for normative surveillance. Foucault does not advocate feudalism, but his lament for the diminishment of ritual and genealogy should be familiar to Confucians. Rejecting the enlightenment notion of the isolated, pure self entering into social compacts, Foucault sees the individual-as-atom as a fiction. Instead, he believes that the industrial age’s new approach to disciplinary power began the constitution of individuals as “correlative elements of power and knowledge.” With a “focus-field” understanding of power, Foucault refuses to treat it pejoratively, there being no outside to power. Instead for Foucault, power’s production of reality, right or wrong, must be faced head on. He writes, “It must cease forever describing the effects of power in negative terms: it ‘excludes’, it ‘represses’, it ‘suppresses’, it ‘censors’, it ‘abstracts’, it ‘masks’, it ‘conceals.’” This throws down a gauntlet, a challenge to which Confucian insights into relational, discursive, and ritualized personhood are well poised to respond.

Changierender Artist. Zu Carl Larssons Positionierung im bildkünstlerischen und literarischen Feld

AbstractTaking the exhibition entitled “Carl Larsson – friends and enemies“ (Stockholm 2013) as its starting point, this study seeks to shed new light on the interplay of selected people in Larsson’s personal networks. It examines an issue, which has to date received little attention, the interaction between Larsson’s artistic and literary work. Drawing on Pierre Bourdieu’s field theory, the study explores a range of personal relationships expressed both cooperatively and antagonistically, but is concerned less to demonstrate any conscious strategies on the part of Larsson than to reveal gradually evolving patterns of interaction. Indeed, in the fight for symbolic capital, Larsson’s combined genre of literature and art reproductions in the form of albums (1895–1910) is increasingly growing in importance.

From humour to fine arts and vice versa: Atlántida in the twenties

From its foundation in 1918 by the Uruguayan writer Constancio C. Vigil, Atlántida magazine kept a well-defined interest in images. The covers, a clear example in that sense, displayed colourful works on full pages while the content itself reflected that through cartoons, graphic sections, vignettes, illustrations and photographs. Conceived as a mass-market project, Atlántida worked with images and texts resorting to the popular and the cultured within the magazine’s layout. Thus, they implemented innovative strategies in the promotion of art, combining a humorous register with texts and images within institutional circuits. This essay is aimed at analysing that peculiar device articulating professional art reviews and reproductions of academic paintings linked also to the art market, with humorous illustrations and textual interventions which spoofed the artistic system. In this vein, the role played by cartoons will be studied, together with the criteria for choosing cover images and the introduction of professional criticism, to eventually focus on an emblematic case in Argentinean art history: Emilio Pettoruti’s exhibition of 1924 and its counterpart, the Salón Ultrafuturista [Ultrafuturistic Salon], a satire of avant-garde proposals and, in short, a questioning of the progress of modern art through humorous means. Our intention is then to reflect upon the artistic promotion strategies which had an impact on the development of consumption, and among which humour turned out to be a critical component. The magazine will be thus conceived as a device for the circulation of imaginaries moulding the sensitivity of the time and the readers’ artistic understanding.

The Function and Meaning of Platform as the process of art making - open source art and participatory reproduction

The Function and Meaning of Platform as the process of art making - open source art and participatory reproduction

Functional coating developments for the digital manufacturing age

Sihl in Bern has developed for two decades inkjet receptive coatings enabling images to bond with media surfaces and deliver high quality prints. This has contributed to the growth of digital art reproduction, poster and advertising to name just a few applications. As progress were achieved with inks - better, cheaper, faster drying &#x2013; demands on matching coating performances kept researchers busy. These were days when everything had to be coated before printing, with price being a second level consideration. Good things never last forever: progress of inks enables decent to good output on several types of uncoated media. Graphic industry suffers worldwide from lower appetite for print, and tends to accept &#x201C;good enough&#x201D; quality in order to cut costs. Manufacturing and 3D printing emerge as the new &#x201C;hot place to be&#x201D; for ambitious developers. Luckily, wide-format printer users are often quite creative and try to add value beyond colour deposition to their activities. Sihl had noticed already some interest for coated materials with enhanced functionalities (water-resistance, fire-resistance, hardened surfaces). We did take some conventional coating contracts, to discover that this was a well-established and rather mature market. The market opportunities seemed to be at the junction between digital imaging and coating, and a different set of tools were needed to unlock these new markets. Sihl invested thus into coating line enhancements, adding a station dedicated to the deposition of thick functional materials, so that one pass functional + receptive imaging layer deposition could be achieved at high speed. Foam deposition is among the first practical developments: Sihl can apply foam layers, with adjusted thickness, softness, printability features on film and non-woven media. The resulting products are of great interest for indoor architects looking for decorative and noise control features. Longer term, as inkjet devices reach speed and width similar to coating machines, it becomes conceivable to have single-pass on demand manufacturing of complex media or finished products, incorporating variable material deposition, functionality addition and imaging.

Ilustração científica na Biologia: aplicação das técnicas de lápis de cor, nanquim (pontilhismo) e grafite

Scientific illustration is a technique of five centuries, including naturalists, biologists, physicians and other scientists. Unlike art reproductions, scientific illustrations are concerned to tell a history, describing the reality, including varied perspectives and explanatory notes. The aim of this study was exemplify three types of scientific illustration techniques in Biological Sciences. For this, we used the materials/techniques: colored pencils, china ink (pointillism technique) and graphite. In total, we present here six illustrations, two for each technique, with three animals and three plants. Nowadays there are very few resources to portray the nature as scientific illustration does. Because it uses their own mechanisms to represent structures, details and notes, that in other methods are not possible.

ASCII Art Synthesis from Natural Photographs.

While ASCII art is a worldwide popular art form, automatic generating structure-based ASCII art from natural photographs remains challenging. The major challenge lies on extracting the perception-sensitive structure from the natural photographs so that a more concise ASCII art reproduction can be produced based on the structure. However, due to excessive amount of texture in natural photos, extracting perception-sensitive structure is not easy, especially when the structure may be weak and within the texture region. Besides, to fit different target text resolutions, the amount of the extracted structure should also be controllable. To tackle these challenges, we introduce a visual perception mechanism of non-classical receptive field modulation (non-CRF modulation) from physiological findings to this ASCII art application, and propose a new model of non-CRF modulation which can better separate the weak structure from the crowded texture, and also better control the scale of texture suppression. Thanks to our non-CRF model, more sensible ASCII art reproduction can be obtained. In addition, to produce more visually appealing ASCII arts, we propose a novel optimization scheme to obtain the optimal placement of proportional-font characters. We apply our method on a rich variety of images, and visually appealing ASCII art can be obtained in all cases.

팬덤 문화의 생산과 수용방식에 대한 연구 - 팬 픽션과 팬 일러스트레이션 중심으로

문화는 인류의 발달에 따라 여러 가지 형태로 생산되어 소비되어지고 있다. 산업화와 도시화로 인해 사람들이 특정한 곳으로 모이게 되면서 대중이 형성되었다. 그리고 대중이 향유하는 대중문화가 생성되게 되었다. 대중문화는 경제원리에 입각하여 자본을 만들어내기 위해 생산자들이 대중에 대해 분석하여 문화 산물을 만들어 낸다. 초기 대중문화는 생산자 중심으로 자본을 가진 기업이나 국가가 정해놓은 텍스트의 의미를 대중이 수용하는 형태였지만 미디어 기술의 발달로 인해 대중이 여론을 형성하며 정치력을 가지게 되면서 문화 산물을 능동적으로 선택하며 수용하게 되었다. 특히 팬덤은 문화 산물을 적극적으로 소비하여 자신들이 원하는 문화 산물의 이미지를 재생산하고 여러 가지 활동으로 문화생산자에게 영향력을 주게 된다. 본 연구에서는 대중으로 형성된 문화 소비 집단인 팬덤이 팬 아트를 이용한 문화 재생산활동을 하게 되면서 참여적 집단으로 변화되게 된다. 이러한 변화는 문화 산물의 소비가 적극적인 모습으로 이루어지게 된다. 그로 인해 문화제작자는 문화자본을 형성하는 집단으로만 여기던 팬덤을 문화 산물의 성공여부를 예측하기 위한 좋은 척도로 사용한다. 본 연구에서는 팬덤 문화 중 팬 픽션과 팬 일러스트레이션 중심으로 문화 소비가 이루어지고 재생산되는 팬 아트가 어떻게 문화 제작자에게 영향을 미치는지를 알아보도록 하겠다. Culture is being created and consumed as several form by human development. Populace is forming through movement of mass of people to specific place which influenced by urbanization and industrialization. Since cultural products are created on base of economic principles cultural content makers are make culture products after lot of study and analyze. In early days popular culture was accepted only by the meaning of the text which has settled already via country or company which was holding the capital. But today we can apply culture products freely by the power of public opinion and media art's growth. Especially fandom is giving the opportunity to consume the image of cultural products actively and offering the good influence to make it by several ways of activities to the culture producers. In this study, consumption as a cultural group formed by the fandom in public will be transformed into participatory groups by the influence of cultural activities with fan art reproduction. These changes in the consumption of culture products will make it in positive way. Thereby culture creator who thinks fandom as a group of culture capital maker only use it now for the indicator for predicting success of culture products. Will find out in this study how culture consumption is accomplishing by fan fiction and fan illustration in the fandom culture and how reproduced fan art is affects to culture creators.