Artistic Tasks Research Articles

Heidegger and Cavell on artistic medium in the post-medium condition

ABSTRACT The article proposes a theory of artistic medium through a conjoint reading of Martin Heidegger and Stanley Cavell. My thesis is that the concept of the medium such reading yields is a necessary dimension of the idea of art still operative in the contemporary “post-medium condition,” in which the material bases of works are no longer bound to conventional identification within the system of the arts. I show that Rosalind Krauss’s conception of “reinventing the medium” as the essential artistic task of this situation is adumbrated in a central tenet of Cavell’s philosophy of art: an artistic medium is created—rather than applied—in a successful artistic instance. I further show that this notion, consistently associated with the figure of circularity in Cavell’s text, is grounded in Heidegger’s understanding of the artwork as a world-disclosing event, paradoxically creating its own conditions. In the last two sections of the paper, I explore the significance of artistic medium for both philosophers as the bearer of the transcendental claim for “material meaning” against the prevailing Cartesian paradigm of modernity. Finally, I argue that Heidegger’s interpretation of the artwork’s material basis as “coming-forth-concealing,” furthered by Jean-Luc Nancy’s notion of “matter-as-difference,” makes the concept of the medium, so construed, universally applicable to the variety of arts in the post-medium condition, and grounds the ontological necessity of this multiplicity.

WOMEN WITH INNER AND OUTER BEAUTY

This article is devoted to the analysis of Mehinbanu and Shirin in the epic "Farhad and Shirin" by Alisher Navoi. The article talks about the historical roots of the characters of Mehinbanu and Shirin, the processes of their transfer from folk art to written literature, and artistic tasks in revealing the epic's poetic content.

THE TOPONYMY OF THE NOVEL "RECREATION" IN THE CONTEXT OF ANDRUKHOVYCH’S POSTMODERNIST DISCOURSE

The article is devoted to the study of the functional and stylistic features of toponymy, which is observed in the novel of Yu. Andruhovich, who is considered to be a bright representative of the postmodern artistic discourse. In modern linguistics, the potential possibilities of literary and artistic onymes of postmodern works have not yet been sufficiently studied, this vocabulary has been occasionally the object of linguistic analysis. Namely, in the toponymicon (and more broadly, the onomasticon) of the "new Ukrainian novel" there have been reflected postmodern masquerade, irony, grassrootsness and emotional markedness. The study of toponyms appears to be quite interesting and relevant, because the creation of such units is a creative process that depends on the artistic intention of the author; toponyms determine the chronotope of the work, take an active part in the creation of images, cause certain associations, develop symbolic meanings. Therefore, the study of onymia, and in particular the toponymy of the novel, is crucial for the study of the writer’s authorial idiostyle, the peculiarities of the linguistic picture of the world created by him. The purpose of the presented investigation is the analysis of the toponymicon of the novel "Recreation" by Yu. Andruhovich, aimed at clarifying the semantic and functional specifics of this important category of onyms as markers of the writer’s idiostyle. The object of the study was the onomasticon of the novel "Recreations", and the subject of consideration was various categories of toponyms as structural components of the idyllic complex. Descriptive, statistical methods, as well as the method of contextual analysis have been used in the analysis. It has been revealed that the toponymy in Yu. Andruhovich’s novel constitutes a solid lexical layer, has a wide range of action in the artistic text and is determined by a rich symbolic semanticization due to the spread of the connotative meaning of toponyms. By generating new meanings of his own vocabulary, the writer expands the semantic-pragmatic parameters of the artistic text and proves that the toponymic space units have inexhaustible resources for solving the artistic tasks of postmodernism. It has been proved that toponyms in the novel "Recreations" perform the function of not only a local-temporal identifier, but also a certain symbolic reinterpretation. The results of the study of the toponymic space of Yu. Andruhovich’s novel showed that, due to the high activity and a kind of "playing" in the text, toponyms constitute an important element of the writer’s idiostyle, his language palette, and at the same time reveal the author’s own manner of onomastic writing, his postmodern intentions. A systematic analysis of the onomastic code of the Ukrainian postmodern discourse as a promising direction can be the subject for further research.

Graffiti revolution and urban environment

The phenomenon of modern graffiti is difficult to theorise due to its complex and comprehensive nature. The article proposes to consider graffiti as a synthetic phenomenon that combines the artistic tasks of transmitting emotional states with the tasks of expressing social ideas (including protest and even revolutionary ones), as well as the tasks of communicating between different cultures – both cultures of different epochs and local cultures and subcultures of city dwellers. This approach is shown through the historical example of Mexican muralism. Based on the proposed approach, contemporary Arab graffiti, which received a strong impetus of development after the events of the Arab Spring, is considered.

The Actors Shaping Roles to Stimulate Real Emotions in Drama Performances

The emphasis should be placed on actors playing parts that evoke genuine feelings in theatrical performances. In this article, I discuss the characteristics of a successful actor as well as the significance of feeling when it comes to developing a compelling stage presence. This study is to investigate the theory underlying dramatic performance art, with the goals of enhancing actors' comprehension of the script, gaining a better knowledge of the actor's inner image and emotional control, and developing strategies to mould the character's genuine feelings. The significance of this study lies in the finding that emotions are the driving force behind dramatic performance, and that in order for performers to create moving performances, they need to incorporate these feelings into their roles. Actors can learn to live more authentic lives and more fully fulfil their artistic tasks with the assistance of true emotion. I myself have been an actor on the theater stage for more than ten years, and through this article I also want to share the importance of emotional expression.

Systematization of public centers design methodology

The article deals with the issue of systematization of the development of project solutions of public complexes based on the analysis of their functional and planning structure and constituent elements. The author systematizes his long-term scientific research and project practice using theoretical sources, in the part of the formation of the architecture of public centers of large cities; conclusions are drawn regarding promising models for optimizing their structure.The nature of the interaction of elements in the modular system of the layout of public complexes is highlighted. A promising methodology for designing multifunctional complexes in an integrated modular system has been formulated. Conclusions were made regarding the possibility of the influence of such methods on the practice of designing public complexes.In this article, provision of "end-to-end" unification and "open" typification of block modules allows to expand the possibilities of alternative search for the most rational project solutions of large multi-functional complexes - public centers. This makes it possible to significantly facilitate the process of designing such objects, shifts the emphasis of creative searches from the layout of the internal structure and technology to the solution of architectural plastic and artistic tasks of the formation of urban ensembles of the center.The nomenclature of residential and public centers of large cities, as the main structural nodes of the city in unity with the adjacent system of settlements, is given. Conclusions are drawn on possible directions of unification and modular coordination of the constituent elements of multifunctional complexes - public centers.

Impotent Husband Culpable Wife: Feminization of Infertility in Ayobami Adebayo’s Stay with Me

This paper examines infertility as a major reproductive health problem that brings shame and leads to social exclusion of women in Sub-Saharan Africa. Infertility is a global issue that affects couples; however, the concept has been institutionalised by the enterprise of patriarchy in Sub-Saharan Africa to make it a woman’s issue. The paper demonstrates how childlessness has been socially and culturally constructed in African societies to hold women responsible for a couples’ problem, irrespective of the male factors related to infertility. The purpose of this paper is to disseminate information on reproductive health, which is a challenging conversation in most African communities, due to the complexity in the subject. Based on Ayobami Adebayo’s novel, Stay with Me, the text explores the task of the postcolonial African literary artist in providing information on infertility (reproductive health) in their narrative, hence, the interrelation between literary discourse and reproductive health. Erving Goffman’s theory of stigma will be employed to portray how childlessness is a discrediting problem in Sub-Saharan Africa. It is a traumatic experience that reduces women to a tainted and discount other. The institution of motherhood created by patriarchy creates stereotypes about childless women for the interest of sterile men. Considering that male and female factors of infertility co-exist, the dialogic approach of Mary E. Modupe Kolawole and Obioma Nnaemeka is necessary in the follow up and management of infertility rather than focus on the woman who may not necessarily be the problem.

Exploring the Neural Correlates of Flow Experience with Multifaceted Tasks and a Single-Channel Prefrontal EEG Recording.

Flow experience, characterized by deep immersion and complete engagement in a task, is highly recognized for its positive psychological impacts. However, previous studies have been restricted to using a single type of task, and the exploration of its neural correlates has been limited. This study aimed to explore the neural correlates of flow experience with the employment of multifaceted flow-induction tasks. Six tasks spanning mindfulness, artistic tasks, free recall, and varying levels of Tetris complexity (easy, flow, and hard conditions) were employed to have relatively complete coverage of the known flow-induction tasks for a better induction of individualized flow experience. Twenty-eight participants were recruited to perform these six tasks with a single-channel prefrontal EEG recording. Significant positive correlations were observed between the subjective flow scores of the individual's best-flow-experience task and the EEG activities at the delta, gamma, and theta bands, peaking at latencies around 2 min after task onset. The outcomes of regression analysis yield a maximum R2 of 0.163. Our findings report the EEG correlates of flow experience in naturalistic settings and highlight the potential of portable and unobtrusive EEG technology for an objective measurement of flow experience.

Hand and Eye: Study on the Relationship between Painting and Photography from Benjamin's Perspective

The birth of printing brought great changes to literature, and the continuous fragmentation of printmaking media allowed pictorial art products to flow into the market. However, no one could have imagined that just a few decades later, the birth of photography would remove the human hand from the main artistic task of image reproduction, which would henceforth be reserved for the eyes staring at the lens. Walter Benjamin, as an early scholar among Western intellectuals in the 20th century, paid attention to the study of the relationship between photography and painting. The Small History of Photography and Works of Art in the Era of Mechanical Reproduction written by him can be regarded as classic works of photographic theory, modern cultural theory and modern art theory. His focus is on the juxtaposition study of photography and painting, two art categories that are both visual image presentation, which is pioneering, original and foundational. Although the paper is not long, the game between symbol and image, politics and economy, and subjective and objective is particularly wonderful. Therefore, it is particularly necessary to dig deeper into Benjamin's theoretical connotation and fully reveal his value in all aspects. The combination of the relationship between painting and photography has also injected impetus into the construction of contemporary visual culture.

Два поэтических парадокса ХХ века: Гертруда Стайн в диалоге с Алексеем Крученых

In this article, we will begin with two almost simultaneously written paradoxes of modernism / avant-garde. The first paradox is Gertrude Stein’s miniature “Sacred Emily”, a one-line poem that reads “Rose is a rose is a rose”. The second paradox is Alexey Kruchenykh’s abstract poem “Dyr byl schyl”. Both texts suggest a transition from a negative emotional state to a positive one, creating a complex aesthetic experience. At the heart of this experience is a re-evaluation of the poetic code as a meaningful and symbolic system, a source of meaning and knowledge. The reader interacts with this code as a collaborator and co-creator, adapting it to their own reality and giving it new meaning. These texts reflect the global artistic trends of the era, which were characterized by a shift towards a different type of representation, one that emphasizes the transmission of feelings and impressions. This vector is inherent in the creative works of both Gertrude Stein and Aleksey Kruchenykh. The artist's task is to induce a complex range of reactions in the recipient, which form a cognitive and creative experience, resulting in an epistemological reconfiguration. Focusing on a new approach to imitation (imitating an experience of reality, not reality itself), both Stein and Kruchenykh sought to accomplish a cognitive recalibration of the reader's mind through experimentation with language. Both Gertrude Stein and Alexey Kruchenykh identify peripheral and associative aspects of experience, create a complex of experiences based on these elements, and recreate them through language. This process is made possible by the suggestive, associative, and connotative power of language and artistic form.

PARENTS KILL THEIR CHILDREN: THE RECEPTION OF LELYA AREI'S STORY. PIGTAIL

Emotions, worries, feelings, and human behavior have always been a subject of interest for the artists. The inner world is a multifaceted object of artistic interpretation in the literature of different times. Considering the individuality of characters and the uniqueness of each personality, this is an eternally relevant theme. The artist's task is to find unique characters and reveal them to the reader using the means of artistic language and psychological insight, show the full spectrum of emotions, pass thoughts and feelings prompting to experience a special emotional journey.

Piano Pieces for Children in Serhiy Bortkevych’s Musical Heritage

The article reveals the artistic and pedagogical potential of piano music for children by the Ukrainian Diaspora’s prominent composer Serhiy Bortkevych. For this purpose, we analysed the piano cycles Little Traveller, Marionettes, Musical Wonderland (based on H. H. Andersen’s fairy tales) and From My Childhood. We specified the stylistic features of his music, didactic and educational tasks, which can be determined by working on small pieces of lyrical, dance, scherzo and march genres with their inherent modest scale and simplicity of presentation. S. Bortkevych tends to the chamber type of expression, modesty of texture, and absence of external effects, which reveals the composer’s commitment to the art of the Biedermeier. This component of S. Bortkevych’s creative personality is complemented by his constant interest in the world of childhood, both in terms of imagery and content, as well as didactics and education. All of S. Bortkevych’s children’s piano cycles clearly demonstrate the great importance of programmatic model in revealing the figurative content of piano pieces, in which nature paintings, portrait sketches, emotional experiences, travelling motifs, cities and countries, fairy-tale images, puppetry, etc. take an equal position. Up-tempo pieces (toccata, scherzo) require the same work as etudes, but with the difference that in etudes, artistic tasks are auxiliary, while in music pieces they are the main goal. In dance pieces, the basis for the work is the need to identify the specificity and character of the dance (waltz, mazurka, polka, hopak) and the originality of the rhythm. Lyrical pieces develop musicality, emotionality, artistry and performing initiative due to the musical language accessibility, vivid imagery and laconism of the form. The works of this group are of pedagogical value as they are aimed at gradual mastery of certain piano skills and techniques. S. Bortkevych’s compositional achievements deserve attention in terms of including his heritage in the educational repertoire of modern music institutions to deepen the educational and cognitive process of children’s and youth’s musical and aesthetic education.

EASTERN BORDERS OF ART NOUVEAU: FROM JAPAN TO TURKESTAN

The article is devoted to the complex analysis of the peculiarities of the perception of the «East» by artists of the second half of the 19th — early 20th century in the process of formation of new aesthetic and visual qualities of the creative paradigm of Art Nouveau. For this purpose, we have identified the Oriental historical and cultural regions that were as distinctive as possible in their influence on the interpretive method of the artists of the emerging modernist movements. Initially prepared by external socio-­political circumstances, the interest in certain eastern areas had internal reasons determined by artistic tasks. At the international level, the genesis of poetic aspects in the interpretation of real motifs, which began in Romanticism, organically coincided with the discovery by Western civilization of the artistic achievements of Japan, the fascination with which led to a qualitatively new understanding of the possibilities of visual language in the art of the turn of the nineteenth and twentieth centuries. However, in the context of the history of domestic art, the masters of Russian Art Nouveau, at different stages of its development, had not only pan-­European, but also their spiritual and geographical eastern reference points, such as Byzantium, the Caucasus and Turkestan. It is on the example of the synthesis of figurative influences of the above-­mentioned cultures in this study revealed the specificity of Orientalism in the art of the Art Nouveau era as a complex multifaceted phenomenon, which was based on the poetic imperative of creativity.

Samara space in Dina Rubina's novel «Petrushka's syndrome»

This article is an experience of studying the structure and role of the «Samara text» in the novel «Petrushka's Syndrome» by Dina Rubina. The initial premise of this article is the author's conviction that it is space that appears in the named novel by Dina Rubina as a constructive principle of the literary work genre organization and the construction of an artistic semiosphere, through analysis of which the researcher can enter the sphere of meanings. The Samara space is not the only one in the novel and is included in a large and complex system of spaces formed by the «Lviv», «Prague», «Berlin», «Israeli» and «South Sakhalin» chapters, and each of these loci has its own artistic tasks and own meanings. At the same time, Samara appears in the novel as a very special space and semantic code formed by the Samara history, urban folklore, artistic and other texts, which together form an urban myth and urban text, and finally, perhaps, by Dina Rubina’s personal impressions, obviously well acquainted with Samara and the Samara residents. All these components of the «Samara text» form the Samara code, which is the focus of the article authors. The most thorough analysis in the article is one of the Samara mini-topos – Visi's apartment, which is the quintessence of the «Samara» life in the novel.

Darius Milhaud’s vocal cycle «Machines agricoles»: outrage or confession?

Relevance of the study. Darius Milhaud's vocal cycle Machines Agricoles (op. 56) was written in 1919. The significant date of creation of the cycle in the year of the end of the First World War forever tied it to a dramatic cultural and historical context, which did not remain aloof from Milhaud's artistic tasks, but was reflected by numerous semantic overtones in the concept of the work, the principles of organization and the original characteristics of the musical language. However, the vocal cycle Machines Agricoles appears in most musicological works as an example of the artist's joke, vocal curiosity, "Dadaist provocation" and the manifestation of youthful enthusiasm. It is a fairly established opinion that the cycle does not deserve any special attention, because it contains nothing but an outrageous declaration of everyday life. Therefore, turning to the cycle Machines Agricoles in the broad context of the intersection of many cultural layers of that time, identifying the semantic dimensions of their actualization in the original work of art and determining the main vectors of its understanding is an urgent question of modern musicology..
 The main objective of the study is to identify the specifics of the design and organization of the vocal cycle Machines Agricoles by Darius Milhaud as an expression of the artist's unique spiritual world.
 The scientific novelty is determined by the fact that the composition of the cycle is considered as a unique semantic continuum, which was conditioned by the emotional and intellectual flows of the spiritual life of Darius Milhaud. For the first time, the text of the work is examined in a broad contextual field, in which Machines Agricoles appear as a confessional phenomenon.
 The methodology of the article is based on historical, comparative, genre-stylistic and phenomenological methods of analysis.
 Results / findings and conclusions. Darius Milhaud's vocal cycle Machines Agricoles appears as a unique phenomenon of his spiritual life. Іn the cycle are reflected the mental and psychological characteristics of the artist's personality, which determined his unique role in the cultural context of France between the two world wars, as well as the difficult fate of his works written in the second half of the 20th century.
 Machines Agricoles are organically included in the context of French music and appear as the discovery of mental models and worldview guidelines that determine the specificity of national culture. Pastorale as a special spiritual dimension of human existence in the post-apocalyptic environment of post-war Europe; a sense of the subtle semantic layers of the artist's self-realization in the context of French musical traditions inextricably linked to the concept of mastery, clarity, "doneness"; the desire to create a complete sound world from equal layers of meaning, formed by expressive timbre means (the voice and each instrument has its own line) - all this testifies to the depth of the concept of the cycle and its unique role in the formation of Milhaud's creative credo.
 The paradoxical non-acceptance of these aspects of the composer's work in the majority of historical sources caused a misunderstanding of the originality of Milhaud's artistic position in the works of later years, prevented us from feeling the boundless sincerity, emotional vulnerability and trusting intonation of the author's address to the listener.
 Darius Milhaud's vocal cycle Machines Agricoles appears as an intimate confession of the author, which transforms a traumatic life experience into a new spiritual space, opens up opportunities to enter the world of perfect balance, and is evidence of the sound of a vulnerable soul that, despite everything, retains its human essence and ability to create.

Полистилистика как фактор музыкального формообразования

The article examines the particular features of form-generation that are stipulated by the application of polystilistics in the form of interactions of intonations and styles in a musical composition. Polystilistics is aimed at enhancing the contrasts. The reserves of musical forms genetically disposed towards contrast are disclosed, including contrast of style: the suite and sonata-symphonic cycles, the contrasting-composite form, as well as variations (a work composed collectively, or a compilation of stylizations), rondo and other rondo-based forms. In sonata form, the cadence provides fertile ground for polystylistics. Even the simple form and the parallel period, by themselves not inclined towards contrast, became responsive to the attempt of correlating different styles remote from each other (frequently, those of early and contemporary avant-garde music). An immense arsenal of means of unification of forms is needed for the neutralization of the centrifugal forces of polystylistics: the tonal plan, the single or manifold presentation of the recapitulation, the “form of the middleground,” the proximity of intonation between stylistically distanced themes, the synthesizing thematicism, and the hierarchical structuring. The article expresses the conviction that polystylistic permeation of musical form is called upon to solve serious artistic tasks.

The collaboration of social group work and the arts: skills and examples from twenty-five years of teaching and practice

ABSTRACT There is a long tradition of collaboration in both social work and the arts. Drawing on twenty-five years of teaching, practice, and writing at the intersection of social group work and the arts, this article provides a discussion of skills in building collaboration for social practice focused on balancing group process with successful artistic task completion. Skills and concepts that intersect social group work and artistic practice are delineated and examples of these skills and concepts in practice are cited.

Specificity of Plastic Imagery of Competitive Dance Pasodoble

The purpose of the article is to reveal the specificity of the plastic imagery of the Pasodoble competition dance. Research methodology. The historical method was applied, which contributed to the study of the origin and development of Pasodoble; the typological method thanks to which the peculiarities of its formation as a competitive ballroom dance were revealed; the method of artistic-stylistic and art-historical analysis, with the aim of identifying characteristic stylistic features, features of performance technique and specifics of Pasodoble's plastic imagery; method of theoretical analysis and generalisation. Scientific novelty. The plastic imagery of the Pasodoble competitive ballroom dance is studied; the technique of its implementation is characterised; the history of the origin of the dance is considered; The peculiarities of the theatricalisation of Pasodoble's choreography as one of the ten dances of the international competition programme have been revealed. Conclusions. The dramatic Latin American dance, which originated in Spain, has become one of the most popular ballroom dances in the world over the last hundred years. The specific combination of dance elements and figures in the composition by French dance teachers in the 1920s create a unique Pasodoble choreography. In the 1940s, it was codified as one of the dances in the Latin American International Style programme. Pasodoble is characterised by strong, bold movements, and the use of dramatic poses in the process of telling the story of the bullfight. Due to its theatricality and unique music, the Pasodoble is commonly performed at ballroom dance competitions and used in stage ballroom choreography. Pasadoble dance and music are steeped in ritual tradition, with a high sense of drama and power. The specific attire of the dancers, the feel and atmosphere of the dance refer to Flamenco – these dances have a strong connection and symbolic origin in Spanish history and culture. The aesthetic expressiveness of Pasodoble is created by plasticity, a musical-plastic image, which embodies the combination of the inner potential of the dancing couple and the mastery of their bodily expressiveness. Specific theatricalisation by means of choreographic expressiveness is manifested in the Pasodoble competition ballroom dance in many ways. The creation of choreography oriented and theatrical interpretation is connected with solving a number of artistic tasks. The complex of expressive means used by dancers helps to clearly outline the meaningful line of the dance. The imagery of the Pasodoble competition ballroom dance choreography is characterised by its own poetic reflection of the bullfight, taking into account the current codification of steps and figures of the Latin American programme of the international style. The plastic image represents socio-cultural aspects, current social symbols, and meanings in the dance.
 Keywords: Pasodoble, competitive dance, plastic, artistic imagery, theatricalisation.

Didactic Tool Based on Virtual and Augmented Reality in Art Education: Learning through an Interactive Game

This article presents research on the results of using a didactic tool based on virtual and augmented reality, developed for solving tasks from the field of spatial design. The theoretical part presents the context of the tool’s development and discusses spatial perception in new media, spatial design of images and screen views, and new media and augmented reality in school practice. The didactic tool consists of a computer, a computer screen, a computer camera, and a set of markers with symbols for different architectural elements that allow different composition operations. Manipulation of the markers is captured by a computer camera, which recognizes the symbols as function keys and allows interaction with a computer program. The computer decodes the data and displays it on the screen as surfaces and solids. This strategy promotes learning like a computer game. We tested it with eighth grade elementary students. The goal was to determine the extent to which the tool would affect the implementation of artistic tasks, creativity, motivation, satisfaction, and understanding of art concepts. The results presented here are encouraging, especially in the area of creativity, which was confirmed by teachers and students after the evaluation.

"Bullfinches of the North": children's portraits of V.A. Igoshev from the funds of the state museums of Ugra

The article is devoted to the theme of childhood – one of the main creative lines in the artistic heritage of Vladimir Alexandrovich Igoshev. The artistic development of the distant and previously little-known periphery began with the first graphic works and individual sketches in March 1954, dedicated to the little inhabitants of the harsh earth, and ended with heartfelt masterpieces created in the last years of the master's life, when all the strength was taken away by illness. Based on the art criticism analysis of V.A. Igoshev's works of art from the funds of the state museums of Ugra, the figurative and stylistic originality of the children's theme in the context of the "northern cycle" is revealed, the general evolution of portrait creativity is indicated. It is proved that as artistic tasks changed, as a result of deep creative immersion in the original and organic world of the North, the figurative interpretation of the children's theme, which acquires an aesthetically autonomous meaning, also changed.