Artistic Resources Research Articles

Adapting an Outpatient Psychiatric Clinic to Telehealth During the COVID-19 Pandemic: A Practice Perspective.

As the demand for telepsychiatry increases during the COVID-19 pandemic, the strengths and challenges of telepsychiatry implementation must be articulated to improve clinical practices in the long term. Currently, observations within US contexts are lacking; therefore, we report on the rapid implementation of telepsychiatry and workflow experiences in a psychiatric practice based within a large health care system in southeast Texas with a national catchment area. We discuss the logistics of the implementation, including modes of communication, scheduling, coordination, and capacity; the psychological effects of web-based services, including both the loss of the physical therapeutic environment and the unique interpersonal dynamics experienced in the virtual environment; and postadoption patterns of engagement with our services and with other clinical functions affected by the rapid adaptation to telemedicine. Our art therapy group programming serves as an applied case study, demonstrating the value of a well-managed web-based program (eg, patients were receptive and well-engaged, and they appreciated the continuity of accessible service) as well as the challenges (eg, the need for backup plans and technological fallbacks, managing interruptions and telecommunication learning curves, and working around the difference in resources for art and music therapy between a well-stocked clinical setting versus clients’ home spaces). We conclude from our experience that the overall strengths of telepsychiatry include receptive and well-engaged responses from patients as well as the expansion of boundaries, which provides a directly contextualized view into patients’ home lives. Challenges and corresponding recommendations include the need for more careful safety planning for high-risk patients; maintaining professional boundaries in the newly informal virtual setting; designing the physical space to both frame the patient encounter and maintain work-life balance for the therapist; allowing for delays and interruptions (including an initial acclimation session); and preserving interprofessional care team collaboration when the physical locations that normally facilitate such encounters are not accessible. We believe that careful observations of the strengths and challenges of telepsychiatry during this pandemic will better inform practices that are considering telepsychiatry adoption both within pandemic contexts and more broadly thereafter.

The Cross-border of Traditional Culture and Art Resources of Museum and Games from the Mobile Game of <italic>Ink, Mountains and Mystery</italic>

The Cross-border of Traditional Culture and Art Resources of Museum and Games from the Mobile Game of <italic>Ink, Mountains and Mystery</italic>

Grand Exhibitions of the 2010s in Russia: Affirming the National Project Through Realist Art

Since the early 2010s, large exhibitions of Russian realist art have enjoyed significant, nationwide success. This article explores the concept of Russian realism, relating it to the concept of culture as heritage, actively exploited in state rhetoric. The popularity of Russian realism is analyzed in the context of the conservative turn in Russian art. The analysis relies on curators’ texts, press-releases, comments and feedback of museum visitors, and articles written by art critics. The article sheds light on the ideological resources of art in its traditional formats and compares the three versions of realist discourse: critical realism of the nineteenth century, socialist realism of the mid-twentieth century and contemporary realism. This work demonstrates that the contemporary discourse of realism appropriates the symbolic capital of the Russian classical heritage by emphasizing the continuity of the realist tradition in contemporary art, which unreflectively uses traditional forms. Thus, realist art provides a way to conceal the clashes and ruptures in Russian national history and to maintain and to invigorate the illusion of national unity.
 Keywords: state cultural policy of the Russian Federation, critical realism, socialist realism, Russian art exhibitions in 2015

A WAVE OF DREAMS: DREAM SOURCE PICTURES IN PLASTIC ARTS

The origin of the art work can be based on many places. It is seen that dreams also constitute an important resource for artists by inspiring many works. In this article, dream-themed works of artists from different periods and styles are analyzed. In the study, Giotto di Bondone, Nicolas Dipre, Georges de La Tour, Henry Fuseli, Francisco de Goya, Jean Jules Antoine Lecomte du Nouy, William Blake, Utagawa Toyokuni, Pierre-Cécile Puvis de Chavannes, Odilon Redon, Henri Rousseau, Salvador Dali , Henry Matisse and Frida Kahlo's dream concept works were evaluated. While evaluating the works, the sources of the dream-themed works were searched. It has been determined that the works originate from religious, psychological, literary and cultural influences. Artists have revealed the phenomenon of dream by blending it with the plastic of the painting within their own period features and original sensitivities. The concept of dream and its effect in terms of creating plastic language were examined within the data obtained by literature review and qualitative research methods. The findings obtained are important as they will contribute to the art world and shed light on the period.

Creating Love Letters to Nature: A Case Study of Children’s Multimodal Literacy Practices

Canada welcomes large numbers of immigrants each year, including children. It is certainly important to understand immigrant children’s educational experience beyond standardized tests in reading and math. This paper draws on a sociocultural approach by situating language and literacy learning in social and cultural contexts and by emphasizing the active role of learners in different contexts. Specifically, the multiliteracies framework (The New London Group, 1996) is used to understand how culturally and linguistically diverse (CLD) children choose to use different literacies and modes to make sense of their surroundings and to create artistic texts to express their understandings of nature, such as water and forests. A qualitative case study was conducted to understand five CLD children’s meaning-making process in a community setting. Data was collected through observations, informal conversations, semi-structured interviews and artifacts. The initial findings of the study indicate that CLD children are active and creative meaning-makers who select different linguistic, cultural and artistic resources as well as various modalities to effectively express their ideas and perspectives according to audience, purpose and context. The presentation discusses two nature projects and shares the artwork of the participating children to highlight a range of multilingual, multicultural and multimodal literacy practices.

A Review on the Future-oriented Fostering and Training of Artistic Human Resources

A Review on the Future-oriented Fostering and Training of Artistic Human Resources

Research on Folk Art Teaching in Normal Universities in the Context of Promoting Traditional Culture

Traditional culture which manifests the values, view of life, and world outlook established by the Chinese nation in long-term production and life has also become the cultural gene of Chinese nation. Folk art as one of the main carriers of traditional culture created by the masses in daily production and labor carries the people’s expectations for a better future life and records folk custom activities. This paper first analyzes the abundance and diversity of folk art resources. Second, it analyzes the importance of carrying out folk art teaching in normal universities, conducts in-depth discussion on folk art teaching model in normal universities in the context of promoting traditional culture: a) Folk art teaching should be integrated with other courses; b) It is necessary to carry out social practice of intangible cultural heritage of folk art; c) It is necessary to construct folk art education system.

An Analysis in City Tourist Behavior at Day and Night Time: Focused on Mokpo City in Jeonnam Province

The purpose of this study is to analyze the differences in perceptions of tourism activities including seeing, experiencing, and eating at day- and night time and to present findings for tourists visiting Mokpo city, Jeonnam. Through this study, this research will derive a competitive alternative as an urban tourism destination that can attract tourists based on various tourism destinations and resources in Mokpo city, Jeonnam. This city was divided into four tourism zones, and each 100 survey was distributed to four zones. Using a convenience sampling method, a self-administered survey was conducted from November 1 to November 30, 2019. A total of 396 questionnaires was used for analyses, except for the four questionnaires that were unusable. The following conclusions were drawn from the results. First, since activities for tourists in the Mokpo city are concentrated at daytime, it is necessary to consider development of daytime-tourism products and political proposals in order to preempt comparative advantages. Second, it is important to provide tourists visiting the city with night tour activities and tourism products including various foods. Potential implications of this study are development of thematic day and night city tourism programs by utilizing unique history, culture, and art resources in the city.

The Australian Curriculum: The Arts. A critical opportunity

There is unequivocal research evidence that quality arts processes and experiences engender a distinctive and critical set of understandings and skills that all young people need to navigate twenty-first century living. Yet the potential for the Arts and arts education to transform the curriculum coupled with the ongoing paucity of Australia’s arts storylines threaten the actualisation of The Australian Curriculum: The Arts. While the document asserts that all Australian children are entitled to a quality arts education in dance, drama, media arts, music and visual arts, realising this aspiration continues to be threatened by a number of issues including the ongoing marginalisation of education in and through the Arts, a dearth of teacher professional learning in the Arts and an emphasis on reductive definitions of what it means to be literate. This article considers what must happen if an arts curriculum with rigour and integrity for all young Australians is to become a reality including an investment in pre-service teacher education, ongoing teacher professional learning and the equitable provision of arts experiences and resources. Changes in thinking by governments, policy makers and educational leaders across all education sectors will be needed to ensure that cultivating imagination and creativity through the Arts become a reality for all Australian children and young people.

Art and Culture in Chinese Corporate Responsibility: A Qualitative Enquiry

This paper investigates the motivations and the forms of practicing CSR in art and culture in China, which is increasingly conducted but still not sufficiently studied. According to cases and interviews, philanthropic responsibility, business results contribution, and corporation reputation enhancement are some core motivations driving corporations in China to practice CSR in art and culture, and they positively correlate with involvement levels in art and culture resources. However, corporate nature and industrial nature own stronger power in corporation CSR decision-making under the instructions of the Chinese government. Therefore, corporations are recommended to ponder their motivations and involvement level of art and culture resources before their actions, and new research perspectives and methodology of CSR studies pertaining to the business context in China deserve a revision as well.

Por uma poética cartesiana: gráficos 3D nas criações digitais de André Vallias

Resumo O laureado artista visual e poeta André Vallias, internacionalmente conhecido por suas criações na esfera da literatura eletrônica e das artes digitais, frequentemente lança mão das potencialidades do ciberespaço para a constituição multissemiótica de suas obras. Além de elementos mais comuns no campo dos diálogos interartes, tais como imagens, cores, volumes, movimento e sons, Vallias costuma empregar em suas criações um tipo de signo insólito em obras artísticas: gráficos matemáticos 3D. Trata-se de representações visuais tridimensionais (mas expressas em superfícies bidimensionais, como telas de computador e celular) de funções algébricas construídas com o software AutoCad - geralmente utilizado em projetos de áreas como a Engenharia e a Arquitetura -, às quais Vallias agrega valor artístico por meio da combinação com elementos mais tradicionais do gênero lírico, como a versificação e o ritmo. Em suas obras, tais gráficos desencadeiam um ou mais efeitos estéticos, como a representação icônica de formas geométricas do mundo referencial, a desconstrução de redutoras antinomias como subjetividade/objetividade (e, por conseguinte, pensamento poético/pensamento matemático), ou a alusão simbólica a elementos intangíveis de textos líricos, sobretudo fenômenos dos estratos fonológico e visual. Nesse contexto, o presente artigo analisa três obras de André Vallias - Nous n’avons pas compris Descartes (1997), De verso (s.d.) e Oratorio (2004) - a fim de mapear o rendimento estético do uso de gráficos matemáticos 3D como recursos artísticos que desnaturalizam nossa percepção acerca do literário e seu atravessamento por sistemas semióticos inusitados.

Reflections on Raphael

Reflections on Raphael PAUL BAROLSKY The essence of all appreciation and analysis of art is the translation of visual perceptions into compelling verbal form. —Ralph Lieberman cultural unity Horace Walpole, Sir Joshua Reynolds, Johann Wolfgang Goethe, Eugène Delacroix, Honoré Balzac, Friedrich Hegel, Charles Baudelaire, Friedrich Nietzsche, Pierre Renoir, Nathaniel Hawthorne, August Wilhelm von Schlegel, Heinrich von Kleist, Franz Grillparzer, Fyodor Dostoyevsky, Ivan Turgenev, Wilhelm Heinrich Wackenroder , George Eliot, Jean-Auguste Dominique Ingres, Roger Fry, Bernard Berenson, Theodor Hetzer, Roberto Longhi, Heinrich Wölfflin, and Stendhal are among the many essayists, critics, novelists, poets, painters and art historians who have responded to Raphael’s work as painter, architect or archeologist over the centuries. I can well imagine all of those listed above, among many others, united in an imaginary painting similar to the School of Athens—in other words, a vision that reconciles their various views of the world in a harmony analogous to the unity of philosophers in Raphael’s great fresco. Raphael is a towering figure in the history of European culture . The year 2020 was the 500th anniversary of the death of the great painter in Rome at the age of thirty-seven. In the wake of recent exhibitions that commemorated the artist’s achievement , I propose to touch briefly and lightly on a few aspects arion 28.2 fall 2020 100 reflections on raphael of Raphael’s life and works. Please think of these remarks as a series of suggestions, not attempts at definitive interpretation. I think of this essay as a rather experimental piece. THE SCHOOL OF ATHENS i should like to begin with a few brief remarks on what must be Raphael’s most famous work of art. I mean his School of Athens (fig. 1), which is, like Leonardo’s Mona Lisa and Last Supper or like Michelangelo’s David and Creation of Adam, an image widely known and admired. What more is there to say about The School Of Athens, one of the central images in the Stanza della Segnatura? You might spend the rest of your life reading about this great work and never understand it fully. Nevertheless, I want to focus for a moment on a central detail of the work and, on the basis of my description, point to a significant aspect of the fresco that has been universally overlooked. First the description, then the aperçu. Fig. 1. School of Athens. Ca. 1510–1512. Photo Credit : Erich Lessing / Art Resource, NY. Paul Barolsky 101 At the center of the School of Athens we behold the two great philosophers of classical antiquity: Plato and Aristotle. Plato holds a copy of his Timaeus, a dialogue that concerns the harmony of the heavens; Aristotle holds a copy of his Ethics, a work that pertains to human relations in this world. It was the goal of Renaissance thinkers to create a harmony or concord of the thought of these philosophers: a Concordia Platonis et Aristotelis. Raphael’s fresco, as is well known, presents the visual ideal of such harmony. Whereas Aristotle gestures downward, alluding to this world, in which his Ethics matter, Plato points heavenward, evoking the order of the cosmic realm described in Timaeus. Raphael makes visible the ideal of concordia when he movingly pictures the way in which the two philosophers gaze into each other’s eyes, as if to suggest this harmony. Borrowing from the language of Raphael ’s friend, Baldassare Castiglione, Raphael renders “the joining” of their souls. The monumental architecture of the scene, which echoes Bramante and has taproots in Piero della Francesca and Perugino , consists of three barrel-vaults beyond which we see patches of blue sky and puffs of cloud (fig. 2). The grandiose architecture of the image magnifies Raphael’s philosophers. Within this architectural framework, Plato’s gesture is deeply meaningful, since it prompts the viewer to look up and thus ascend toward the perfection of the celestial realm, beyond the imperfections of the physical world. Above the first barrel vault in the fresco we behold a section of the drum of a dome which is open to the sky. Within this section of drum there are two columns that are lined up directly...

Reflections on Raphael

Reflections on Raphael PAUL BAROLSKY The essence of all appreciation and analysis of art is the translation of visual perceptions into compelling verbal form. —Ralph Lieberman cultural unity Horace Walpole, Sir Joshua Reynolds, Johann Wolfgang Goethe, Eugène Delacroix, Honoré Balzac, Friedrich Hegel, Charles Baudelaire, Friedrich Nietzsche, Pierre Renoir, Nathaniel Hawthorne, August Wilhelm von Schlegel, Heinrich von Kleist, Franz Grillparzer, Fyodor Dostoyevsky, Ivan Turgenev, Wilhelm Heinrich Wackenroder , George Eliot, Jean-Auguste Dominique Ingres, Roger Fry, Bernard Berenson, Theodor Hetzer, Roberto Longhi, Heinrich Wölfflin, and Stendhal are among the many essayists, critics, novelists, poets, painters and art historians who have responded to Raphael’s work as painter, architect or archeologist over the centuries. I can well imagine all of those listed above, among many others, united in an imaginary painting similar to the School of Athens—in other words, a vision that reconciles their various views of the world in a harmony analogous to the unity of philosophers in Raphael’s great fresco. Raphael is a towering figure in the history of European culture . The year 2020 was the 500th anniversary of the death of the great painter in Rome at the age of thirty-seven. In the wake of recent exhibitions that commemorated the artist’s achievement , I propose to touch briefly and lightly on a few aspects arion 28.2 fall 2020 100 reflections on raphael of Raphael’s life and works. Please think of these remarks as a series of suggestions, not attempts at definitive interpretation. I think of this essay as a rather experimental piece. THE SCHOOL OF ATHENS i should like to begin with a few brief remarks on what must be Raphael’s most famous work of art. I mean his School of Athens (fig. 1), which is, like Leonardo’s Mona Lisa and Last Supper or like Michelangelo’s David and Creation of Adam, an image widely known and admired. What more is there to say about The School Of Athens, one of the central images in the Stanza della Segnatura? You might spend the rest of your life reading about this great work and never understand it fully. Nevertheless, I want to focus for a moment on a central detail of the work and, on the basis of my description, point to a significant aspect of the fresco that has been universally overlooked. First the description, then the aperçu. Fig. 1. School of Athens. Ca. 1510–1512. Photo Credit : Erich Lessing / Art Resource, NY. Paul Barolsky 101 At the center of the School of Athens we behold the two great philosophers of classical antiquity: Plato and Aristotle. Plato holds a copy of his Timaeus, a dialogue that concerns the harmony of the heavens; Aristotle holds a copy of his Ethics, a work that pertains to human relations in this world. It was the goal of Renaissance thinkers to create a harmony or concord of the thought of these philosophers: a Concordia Platonis et Aristotelis. Raphael’s fresco, as is well known, presents the visual ideal of such harmony. Whereas Aristotle gestures downward, alluding to this world, in which his Ethics matter, Plato points heavenward, evoking the order of the cosmic realm described in Timaeus. Raphael makes visible the ideal of concordia when he movingly pictures the way in which the two philosophers gaze into each other’s eyes, as if to suggest this harmony. Borrowing from the language of Raphael ’s friend, Baldassare Castiglione, Raphael renders “the joining” of their souls. The monumental architecture of the scene, which echoes Bramante and has taproots in Piero della Francesca and Perugino , consists of three barrel-vaults beyond which we see patches of blue sky and puffs of cloud (fig. 2). The grandiose architecture of the image magnifies Raphael’s philosophers. Within this architectural framework, Plato’s gesture is deeply meaningful, since it prompts the viewer to look up and thus ascend toward the perfection of the celestial realm, beyond the imperfections of the physical world. Above the first barrel vault in the fresco we behold a section of the drum of a dome which is open to the sky. Within this section of drum there are two columns that are lined up directly...

Freud between Oedipus and the Sphinx

Freud between Oedipus and the Sphinx MIRIAM LEONARD Areproduction of Jean-Auguste-Dominique Ingres’s neo-classical painting Oedipus and the Sphinx famously hung over Freud’s couch in his consulting room at Berggasse 19 [figure 1]. Nobody doubts the significance of the figure of Oedipus to the development of Freud’s thought, arion 28.3 winter 2021 Jean-Auguste-Dominique Ingres, (1780–1867). Oedipus and the Sphinx, 1808. Oil on canvas. Photo Credit : Scala/ Art Resource, NY. 132 freud between oedipus and the sphinx but the presence of the Sphinx in this picture raises a series of questions about Freud’s interests which have not been as extensively explored. Indeed, this is far from being the only depiction of the Sphinx which graced Freud’s study. A large etching of the Sphinx at Giza was displayed amongst his bookshelves and a terracotta figurine was amongst his most prized objects.1 These representations of the Sphinx testify to Freud’s broader fascination with Egyptian culture—a fascination which, as we have seen, manifests itself both in his writings and his collection of antiquities. Judith Butler and George Steiner have wondered: “what would happen if psychoanalysis were to have taken Antigone rather than Oedipus as its point of departure?”2 I want to reformulate their question to ask, what would happen if Freud had taken the Sphinx rather than Oedipus as his point of departure? With this counterfactual, I hope to deepen the exploration already undertaken in the previous two articles about Egypt as an origin myth for psychoanalysis—an origin both for the development of the self and for the history of humanity. One possibility, suggested by Edward Said in his last work, Freud and the Non European, is that Freud’s turn to Egypt opened psychoanalysis to a less Eurocentric perspective. For Said, Freud’s foregrounding of Egypt and his interest in the crossover of “non-European” and “European ” cultures testified to his openness and his frustration with the nationalist and racist theories which were so prevalent at the end of his life.3 Said’s claims are compelling but as he would have been the first to note, Freud’s Egyptomania could equally be captive to orientalizing fantasies.4 In what follows I trace the evidence for Freud’s fascination with Egypt and, reading it hieroglyphically (as he would invite us to do), I speculate about its possible impacts on psychoanalysis as art and / or science. Ingres’s first version of Oedipus and the Sphinx—the painting whose reproduction Freud displayed—was completed in 1808. Ingres originally painted the picture in Rome where Miriam Leonard 133 he was studying at the French Academy. In common with other students at the academy, Ingres was required to produce figure studies and the original version of this painting was focused on Oedipus and the representation of his bodily form. Ingres had asked his model to use the same pose as the classical statue of Hermes with the Sandal which is displayed in the Louvre. As François de Vergnette writes: “The clarity of the contours, the muted use of chiaroscuro and the slight surface relief given to the figure of Oedipus add an archaic flavor to the picture. This archaism had its roots in Ingres’s taste for Greek vases.”5 But it is the impact of a different Mediterranean culture which can be felt in Ingres’s depiction of Oedipus’ counterpart. While Oedipus embodies the Winckelmannian Hellenic ideal, the Sphinx is represented in all her oriental glory. Ingres painted this image just ten years after Napoleon had lead his troops and “savants” into Egypt. Napoleon’s Egyptian Campaign gave rise to a widespread fascination with ancient Egyptian culture and its impact on the arts was immense. In choosing to represent Oedipus in his encounter with the Sphinx, Ingres was able to draw on this new aesthetic of orientalism.6 Even before Napoleon ’s expedition, the Sphinx had become a potent visual representation of the mystery of ancient Egypt and of ancient Egypt as mystery. Ingres reworked this image during the course of his career and gave the Sphinx an ever greater prominence. In Ingres ’s depiction, the Sphinx’s orientalism...

Greek Music in America ed. by Tina Bucuvalas

Reviewed by: Greek Music in America ed. by Tina Bucuvalas Dafni Tragaki (bio) Tina Bucuvalas, editor, Greek Music in America. Jackson, MS: University Press of Mississippi. 2019. Pp. xii + 467. 105 illustrations. Paper $30.00. Greek Music in America is a collection of essays edited by Tina Bucuvalas, curator of art and historical resources with the City of Tarpon Springs, Florida, who has also served as a folklorist and director of the Florida Department of State. The book is meant to serve as a foundation for the study of Greek American music, which is described in the introductory chapter as an essential medium for the poetics of the Greek American diasporic community (3). This opening chapter, co-authored by Bucuvalas and Stavros K. Frangos, one of the most renowned experts in Greek American music culture, offers a broad overview of Greek music in America from 1880 to 2015. Thereafter, the book is structured in four sections organized according to historical periods and summarizing valuable information about musicians, record labels and recording activity, genres, instrument makers, performance venues, and contexts. As an overview of its subject, Greek Music in America offers a basic text for any future research on the topic by ethnomusicologists, historical musicologists, anthropologists, historians, and other scholars. [End Page 568] Part One, "Musical Genres, Style and Content," gathers essays, mostly published between 1981 and 2008, by pioneering authors in the field. The essays involve a wide range of topics: Greek Orthodox liturgical music (Frank Desby); the café aman musical tradition (Roderick Conway Morris); the amanes genre (Gail Holst-Warhaft); a comparison between rebetiko song and the blues that expands the geographical focus to Australia's Greek music scene (Stathis Gauntlett); the life and career of one of the most outstanding Greek musicians, George Katsaros, documenting the powerful networking of traditions by the international record industry (Frangos); the exploration of the place of spoken interjections in 78–rpm gramophone recordings of Greek songs (Michael G. Kaloyanides); and the intersection of Greek and Turkish song in America (Joseph G. Graziosi). Since several of the reprinted essays are apparently less accessible today, Part One largely serves the re-surfacing of carefully selected, highly influential archival, folklore, anthropological, literary, historical, and ethnomusicological published research on the topic, while inspiring their critical reconsideration and theoretical reframing. The next section, "Places," collects chapters originally published between 1985 and 2012 (according to the information given in the Notes), including Sotirios (Sam) Chianis' essay on Greek folk music in New York, Anna Caraveli's ethnography of glendi performances, and Anna Lomax Wood's public folklore research on diasporic Kalymnian spongers' musical traditions focusing on the family of Nikitas Tsimouris. A new chapter by Panayotis League on Kalymnian music and dance in Tarpon Springs provides a fresh ethnomusicological perspective and raises questions of performance, authenticity, gender, embodiment, identification, and belonging. The acclaimed historical recordings researcher Dick Spottswood opens Part Three, "Delivering the Music: Recording Companies and Performance Venues," with a chapter offering a highly informative documentation of Greek music recordings from 1896 to 1937. The chapter by Meletios Pouliopoulos, a dedicated music archivist, deals with the apparently understudied topic of Greek piano rolls in the United States and provides a useful starting point for those interested in studying Greek American music's technoculture in the 1920s and 1930s. Anthony Shay's chapter recounts a choreographer's encounter with Greek folk dancing, while the essay by Nick Pappas (originally published in 1981) is a lively account of New York's Greek nightclubs during the 1980s. The final section, "Profiles," offers biographical accounts of Greek-American popular musicians, instrument-makers, and individuals actively involved in the music scene; it thus forms a sort of encyclopedic corpus of entries authored by dedicated specialists. The closing Appendix by Frangos provides a detailed [End Page 569] and systematic outline of Greek music collections in the United States that is a much-needed compilation and description of the available archival sources. Greek Music in America substantially contributes to the organization of relevant scholarship and paves the way for further investigations while hoping to attract a wider readership. Though the quantity of recent research is rather disproportionate, the book is likely to stimulate interest...

Світлини Левка Янушевича на сторінках українських часописів

The article studies the activities of one of the famous Ukrainian photographers of the XX century — Levko Yanushevych in the field of photography. We have systematized and characterized the artist’s photographs on the pages of Ukrainian and foreign (for Ukrainian emigrants) periodicals of the XX century, specifically, «Dilo», «Nashi Dni», «Nova Khata» (all titles in Lviv), «Kholms’ka zemlya» (Krakow), «Ukrainskyi visnyk», «Holos» (both in Berlin), «Na slidi» (Augsburg). The process of shaping Yanushevych’s creative personality via a prism of public activity and cooperation with famous figures is analyzed. The significant contribution of the photographer to the preservation of important facts and information about the Ukrainian intelligentsia of that time is revealed. Levko Yanushevych appears in the general picture of the XX century not only as a photojournalist of the cultural life of Ukraine, but also as an active participant in the processes taking place at the background of art. This is evidenced by articles, interviews and memoirs left by Yanushevych in local magazines. His popularity at that time is confirmed by publications in foreign editions made by efforts of the Ukrainian émigrés. Levko Yanushevych’s photographs are stored in the archives of the V. Stefanyk Institute of Library Art Resources Research of the Vasyl Stefanyk National Scientific Library of Ukraine in Lviv. They are not accessible in some magazines. The personality of this photographer is quite interesting not only in terms of his professionalism and famous works, but also as a cultural and public figure. His photo portraits are still stored on the pages of the Ukrainian General Encyclopedia. His photographs of landscapes and architectural masterpieces of the Ukrainian cities of the late XIX and early XX centuries help to plunge into the past. However, information about the photographer is very scarce, and there is no study of his work. In the mentioned press archives in 1920s, 1930s and 1940s, as well as some authorial articles available on the Internet were found about 50 photographs of the artist. We analyzed and systematized images by genre groupings. The article also covers a range of issues related to the origin and existence of photography in the 19-20th century, the main figures of the time, photo studios and vocational schools of Ukrainian photography. The findings of our research show trends in photography relevant in a perspective of the 21st century were experienced by professionals and amateurs in the past. Capturing information, transmitting emotions and feelings, preserving architectural monuments, landscapes, recording important moments in the lives of relatives or prominent people, coding or symbolism were important stages in the evolution of photography. Keywords: Levko Yanushevych’s photos, Ukrainian photographer, Ukrainian magazines, photography.

Information Context of Culture in Focus of Professional Discussion

The article presents an overview of the all-Russian scientific and practical conference (with international participation) “Information Context of Culture: Resources, Technologies, Service” (the 11th conference of heads and specialists of information services for culture and art). The conference, orga­nized by the Russian State Library, the Russian State Library of Arts, and the St. Petersburg State Institute of Culture, on the instructions of the Ministry of Culture of the Russian Federation, was held in Moscow on September 24—25, 2019. Its purpose was to summarize the results of scientific research and practical experience on the issues of information support of the cultural sector in the digital age, to identify some problems and find ways to overcome them, and to demonstrate the best achievements in this field. The conference was attended by more than 90 representatives of cultural management bodies, federal, regional and municipal libraries, universities, training centers and other organizations of culture, science, education and mass media from 22 regions of Russia, as well as heads and specialists of national libraries of Armenia, Belarus and Kazakhstan (via video link). Thanks to the online broadcast, the total audience of the event increased by almost 200 people. The conference participants noted the importance of scientific and information activities in the cultural sector both for society in general and for the sector’s development in particular. In order to improve this work, the conference participants recommended to promote its digitalization, which is aimed at creating public resources for culture and art and organizing information services in the 7/24 mode via the Internet, including on mobile devices; to intensify the mutual use of resources through participation in joint projects; and to strictly observe copyright when creating information resources and methodological materials.

Negra, favelada, lesbiana y feminista: activismo artístico y recursos estéticos en el espacio público. El caso de Marielle Franco

In this paper we propose to analyze a corpus of aesthetic-artistic practices that took place in public spaces following the murder of Marielle Franco in Brazil in March 2018. For many it was (and is) a symbol of renewal of Brazilian politics to be black, lesbian, born in the favela, university and defender of racial and gender equality. The demand for justice for his death generated demonstrations throughout the country, in which the artistic resource acquired centrality. From the analysis of the images we argue that, first, they built antagonists, an “other” who was blamed for the murder of Marielle and who, in turn, attempted against some of the interventions made later in the public space. Second, in the context of current visual culture, the images were massively replicated in the urban space and in the virtual space, which contributed to make the event visible. Finally, areas for memory were generated, given the lack of justice and clarification of the crime. The methodology starts from an transdisciplinary perspective to describe and analyze aesthetic interventions combining the fields of Visual Culture and Sociology.

Union of land and water

The author emphasizes the exceptional significance of interaction between the development and the water areas of the Neva delta to form the general look of St. Petersburg. He also analyzes the gradual development of methods for the reclamation and transformation of coastal areas. It is noted that the sophistication of the existing landscapes was ensured by the creative contribution of outstanding architects, huge amount of construction works and innumerable investments. The enormous popularity of the Spit of Vasilyevsky Island is also explained by the fact that a convenient observation platform was created here, which reveals ideally the merits of the panorama of the “main area of the Neva”. It is stated that, despite the damage suffered by the Neva delta waterway system in the second half of the 19th century, it retains an exceptional value. The circumstances that impede the full use of unique architectural and artistic resources are shown, and examples of solutions are presented that allow improving the contact of citizens and tourists with the historical landscapes of the center.

Optimized integration of traditional folk culture based on DSOM-FCM

Traditional folk culture, which records the track of local historical development, is a historical product reflecting the humanistic style and features and has important historical and cultural value. In the context of big data, analyzing the characteristics of traditional folk culture and excavating the internal relationship and implicit information between traditional folk culture data are the common concerns in the field of traditional cultural information science. Based on the research on the digital characteristics of traditional folk art and the data clustering method under the background of big data, this paper proposes a deep self-organizing map fuzzy C-means (DSOM-FCM) model based on dynamic self-organizing neural network, which integrates resources of traditional folk culture in Shaanxi Province. It not only takes into account the needs of economic development and spiritual civilization construction, but also meets the needs of social and cultural development in Shaanxi Province. Firstly, the spatial and temporal characteristics of big data of folk traditional art are analyzed, and then the input vector of dynamic self-organizing neural network is determined to be 6-dimensional attribute data. Then, based on the traditional self-organizing mapping (SOM) algorithm and fuzzy C-means technology, a traditional folk art resource integration model based on DSOM-FCM is constructed. Finally, using the traditional culture data set test model of Shannxi Province, the experimental results are as follows: When SF = 0.35, the number of clusters of the algorithm is 3, and coarse clustering is realized. When SF = 0.7, the number of clusters of the algorithm is 6, and fine clustering is realized. In order to test the efficiency and accuracy of the model, from the perspectives of classification error, iteration time, number of iterations, and number of clusters, a comparison experiment with SOM and TreeGNG algorithms is set; the results show that the algorithm designed and used in this paper performs well in solving the optimization and integration of traditional folk culture.