Artistic Tool Research Articles

Generative Art: Between the Nodes of Neuron Networks

This article uses the exhibition “Infinite Skulls”, which happened in Paris in the beginning of 2019, as a starting point to discuss art created by artificial intelligence and, by extension, unique pieces of art generated by algorithms. We detail the development of DCGAN, the deep learning neural network used in the show, from its cybernetics origin. The show and its creation process are described, identifying elements of creativity and technique, as well as question of the authorship of works. Then it frames these works in the context of generative art, pointing affinities and differences, and the issues of representing through procedures and abstractions. It describes the major breakthrough of neural network for technical images as the ability to represent categories through an abstraction, rather than images themselves. Finally, it tries to understand neural networks more as a tool for artists than an autonomous art creator.

THE ROLE OF TYPOGRAPHICS IN THE DESIGN OF AN EXHIBITION SPACE. INTERACTION SCHEMES

The article discusses the evolution of the role of typographics in the exhibition space from the generally accepted design of labels to the use of typography as the main artistic tool that demonstrates the conceptual intent of the exhibition. A significant amount of visual material was reviewed. Based on this review, graphic schemes of interaction between typography and exposition space were developed. The schemes show the dependence of the typography on the object being displayed and the focus of the exhibition.

Trans-hemispheric artivism: Mexican and Latinx Grafica

ABSTRACT In this article, I connect the resistant, sociopolitically expressive graphic art created in Mexico with the political artivist work of U.S. Latinx nonfiction cartoonists creating today. I do so by identifying these contemporary artists within a history of Mexican political graphica that I trace back to 1900. In so doing, I include a brief list of events in Mexico since the beginning of the 20th century where Mexican graphica worked as a tool for artists and the working class to participate in politics. I then identify contemporary instances of this artivism with La casa blanca case that took place during Enrique Peña Nieto’s administration (2012–2018). I conclude with my analysis of Lalo Alcaraz and Eric J. García, demonstrating how they inherited the artivist tradition from Mexican creators.

#ChalkedUnarmed

Mall worker scrubbing off a #ChalkedUnarmed installation outside the Frontenac Mall, in a wealthy St. Louis suburb, May 2015. (Michael Kingsbaker) (Sara Swaty) Mallory Rukhsana Nezam is a creative catalyst who loves cities and believes we have the tools to make them more equitable and joyful. A St. Louis native, she uses performance and play to create bolder publics and produces cultural experiences wherein the public, artists, and local governments cocreate to tear down social barricades. Nezam is a 2020 Monument Lab Transnational Fellow, together with collaborators and forum contributors De Nichols and Damon Davis. “As a St. Louisian and an artist, I was profoundly changed by Mike Brown's murder and my community's response to it. It made me commit clearly and fully to my values. Many of us during and after the Ferguson uprising were fully immersed in the struggle through a blend of activism and art. Artists used their superpowers to propel the movement forward.” “Brown's death changed the focus of my career. Now I work within the fields of urban planning and urban policy to have an impact on racial injustice at the systemic level, at the root of it.” “‘Still here’ is our region grappling with its long history of racialized violence, spatial segregation, and exclusion (both before and after the Ferguson uprising).” Mall worker scrubbing off a #ChalkedUnarmed installation outside the Frontenac Mall, in a wealthy St. Louis suburb, May 2015. (Michael Kingsbaker) Mallory Rukhsana Nezam, #ChalkedUnarmed, 2015. Public performance art. #ChalkedUnarmed is a public intervention that educates passersby about the extrajudicial killings of unarmed Black people at the hands of the police, disrupted complacency and inaction, and honored lives lost. The project is open source and became an artistic tool that anyone anywhere could use and install in public space.

Curious methods – pedagogy through performance

This article focuses on the links between performance and pedagogy in the work of artists and scholars Leslie Hill and Helen Paris, co-directors of London based performance company Curious. Hill and Paris often tie the creation of a live performance to the development of performance-making workshops. This article examines three case studies: 1) the ‘Autobiology’ workshops which explore the generative potential of ‘gut feelings’, developed as part of making the performance ‘the moment I saw you I knew I could love you’; 2) the UpRoot, workshops created alongside the environmental performance Wild Longings; and 3) an online MOOC Paris and Hill taught out of Stanford University called Practice-Based Research in the Arts which 5000 national and international scholar-artists from 30 countries participated in, resulting in a massive online art gallery called Studio West. The article also references Hill and Paris’ new book, Devising Theatre and Performance: Curious Methods (forthcoming, LADA and Intellect, 2021) a practice-based methodology book with generative tools for artists designing interdisciplinary, solo and collaborative projects which can used by solo practitioners, collectives and companies and offers teachers creative exercises for students working on site specific, autobiographical and socially and politically engaged live art works.

Science‐telling through art

Science‐telling through art

Reflections from an interprofessional education symposium on the use of art to inform clinical practice

A novel, student-organized event, the ‘Art in Healthcare’ interprofessional education symposium was held in November 2018 as the inaugural event hosted by the Windsor Interprofessional Health Student Collaboration. Students attending represented five different programmes of study and came from five different campuses, all in Ontario. The impetus for it was grounded in the existing landscape of interprofessional education and the use of narrative and artistic approaches to guide reflection on professional identity for health professionals. The structure of the symposium included a keynote address, workshops, and a closing ceremony. Pre- and post-symposium surveys were administered and filled out by students and helped to inform this reflection. Participants were given the space, time, and artistic tools to engage in critical thought about their past experiences as health care professional students. They used narrative and artistic approaches to express complex and difficult thoughts and ideas which helped to illuminate shared experiences and create shared awareness. Through reflection and conscious decisions regarding representation of ideas through alternative artistic media, students explored their feelings and identities. The ‘Art in Healthcare’ symposium introduced new tools and methods for health professional students to engage in critical reflection, providing many benefits for students and their patients alike.

Use of muralism to promote awareness about aquatic ecosystems and wise water consumption in northwestern Ecuador

In this article, we present the results of the use of muralism as an artistic tool applied to environmental education with a focus on the promotion of awareness of aquatic ecosystems and rationed water consumption in the province of Esmeraldas in northwestern Ecuador. The research was conducted by an interdisciplinary team of professors and students from the Pontificia Universidad Católica del Ecuador Sede Esmeraldas between 2017 and 2018 with the support of mural artists.The project involved a target audience in participating in the design and painting of four large-format murals with graphic representations of the ecosystems and people's relationship to water. The murals were developed in four different locations in the city where they could be viewed and appreciated by the community in general. One corner of each of these murals was deliberately left blank to serve as a slate where people could reflect and leave their comments.Pre- and post-test surveys were administered to the participants of this study and then evaluated and analyzed using McNemar statistics to measure the changes in participants' knowledge, awareness, and attitude. The reaction of the public to the murals was also part of the study. Their interaction was analyzed using a qualitative evaluation matrix specifically designed for this project.The results obtained in this study show that the use of mural art is an effective tool for environmental education programs. Murals represent a place for interaction; therefore, they become effective spaces for expressing and communicating messages. The impact of murals on awareness of aquatic ecosystems and use of water were more significant in children and teenagers because people are more receptive at a young age. The rest of the target groups participating in the study, although stimulated by the murals, presented minor changes in their responses.The public's reaction to the murals was extremely positive. The results showed that murals that depicted elements relating people's identity to the ecosystem helped reconnect them with nature and reminded them of their responsibility to conserve it. Thus, mural art can serve as a pedagogical tool for environmental education, helping communities connect with the environmental reality and encouraging them to commit to conservation through tangible work.

Jurisprudential principles of the cultural system of the Islamic Republic of Iran

The pillar of the cultural system is monotheism and its principles are the branches of religion and its sources are books, traditions, consensus, intellect and tools of the cultural system of seminaries, universities, education, media and artistic tools.

ИСПОЛЬЗОВАНИЕ ХУДОЖЕСТВЕННЫХ СРЕДСТВ В ПРЕПОДАВАНИИ ЭКОНОМИЧЕСКОЙ ТЕОРИИ (РАЗДЕЛ «МИКРОЭКОНОМИКА»)

The article examines the application of the principle of visibility in pedagogy, on the example of teaching the section "microeconomics" of the course "Economic theory". Artistic tools and techniques allow you to analyze economic aspects, processes, phenomena, and contexts in the course taught through artistic literary works and films, paintings, theater productions, etc. Using the principle of clarity in this case allows students to facilitate the process of perception and assimilation of theoretical material, makes it possible to emotionally influence the student; enriched sensory perception of students, develops their imagination, learning becomes more intelligible, interesting, encouraged active learning process, improves efficiency of mastering of educational material, expanded memory capabilities, increased access to study material and enhanced the strength of its absorption, it should also take into account the educational value and aesthetic value of the material used. Artistic means should correspond to the level of development of students, the course being studied, and reflect the economic reality. When using works of art in teaching, the following should be taken into account: it is necessary to refer to those works that are known to the majority of the audience, the lecturer should know the work referred to well, the passage used should be quite brief, but deep in content and artistic in form, highlight important aspects that are worth paying attention to when watching a movie, reading a book, or analyzing a picture. When teaching the course "Economic theory", the section "microeconomics", using the principle of clarity of didactics, it is recommended to use selected on the relevant topics, questions and subqueries artistic literary masterpieces of domestic and foreign authors, paintings of Soviet, Russian, world cinema, works of art painting both domestic and foreign: in the topic "Fundamentals of market economy", questions "economic needs and economic resources", " economic systems»; the topic "Theory of the firm", the question "the essence, goals, conditions of functioning of the firm"; the topic "Perfect and imperfect competition", the question "the Main characteristics of monopoly"; the topic " factor Markets and income distribution. Social policy", questions "inequality of income distribution in a market economy", "social policy".

ЭКРАННЫЕ ФОРМЫ НА БИЕННАЛЕ СОВРЕМЕННОГО ИСКУССТВА

Video today is a popular tool for artists of postmodern, poststructuralist, post-conceptual orientations. These practices have not yet developed their economic model and have spread mainly through biennials and festivals of contemporary art, as the main form of their comprehension and display. At the same time, “video art”, “video installations”, “video sculptures”, “video performances”, “films” at the exhibitions are far from an exhaustive list of strategies, stating a cinematic turn in contemporary art, where videos are considered among the basic tools of a contemporary artist and curator. It gets increasingly difficult to imagine exhibitions that resonate with the public and critics without video. From an avant-garde countercultural practice, video has become the mainstream of contemporary exhibition projects and is presented in exhibitions in many variations. The article analyzes the strategies for including video in the expositions of national pavilions at the 58th Venice Biennale, among which the production of video content in the genre of documentary filming, investigative journalism, artistic mystification, and interactive installation can be distinguished. Artists both create their own content and use footage content from the Internet. The main awards of the Biennale are won by large—scale projects that dialogize fine art with cinema and theater. For the implementation of artistic ideas curators of biennial projects attract professional directors, screenwriters, sound and light specialists. The biennials of contemporary art, by analogy with the term screen culture, can be attributed to the large format in contemporary art. At them, video goes beyond the small screens with the help of full-screen interactive installations, projections on buildings, films timed to exhibitions are broadcast on YouTube and Netflix. As the coronavirus pandemic has shown, the search for new tactics using screen forms is sometimes the only way out for a large exhibition practice in a situation where it is impossible to conduct international projects and comply with new regulations. The Riga Biennale of Contemporary Art, Steirischer herbst in Graz, followed this path. The exhibition is moving closer to film production. New optical and bodily models are being formed. The contemplative essence of art is being replaced by new ways of human perception of information, space and time, built on the convergence of communication means—video, music, dance, the interpenetration of objective and virtual realities.

Retinal Noise Emulation: A Novel Artistic Tool for Cinema That Also Improves Compression Efficiency

In cinema it is standard practice to improve the appearance of images by adding noise that simulates film grain. This is computationally very costly, so it is only done in post-production and not on the set. It is also limiting because the artists are not able to really experiment with the noise nor introduce novel looks. Furthermore, video compression requires a higher bit rate when the source material has film grain or any other type of high frequency texture. In this work, we introduce a method for adding texture to digital cinema that aims to solve these problems. The proposed algorithm is based on modeling retinal noise, with which the images processed by our method have a natural appearance. This “retinal grain” serves a double purpose. One is aesthetic, as it has parameters that allow to vary widely the resulting texture appearance, which make it an artistic tool for cinematographers. Results are validated through psychophysical experiments in which observers, including cinema professionals, prefer our method over film grain synthesis methods from academia and the industry. The other purpose of the retinal noise emulation method is to improve the quality of compressed video by masking compression artifacts, which allows to lower the encoding bit rate while preserving image quality, and to improve image quality while keeping the bit rate fixed. The effectiveness of our approach for improving coding efficiency, with average bit rate savings of 22.5%, has been validated through psychophysical experiments using professional cinema content shot in 4K, color-graded and where the amount of retinal noise was selected by a motion picture specialist based solely on aesthetic preference.

Energy efficiency aspects of coloristic opportunities of interior space with inclusion of artistic-decorative forms

The article raised the issue of the urgency of the problem of reducing the energy consumption of interior space by means of coloristics, taking into account the influence of light and color reflexes of the environment, the aesthetic possibilities of colouristry in the interior, which are directly related to the design methods and ecology of the environment. The principles of colors solution harmony, derived from the combination of colors, forming a single color space-color field, able to form an aesthetically full-color space are analyzed.The necessity of the laws and means of colorization to regulate the subject-spatial environment in the realization of ecological issues and aesthetic improvement of the environment of human life is proved. It was noted that in the conditions of sustainable development of the environment, in search of innovative approaches to ways of reducing the energy costs of objects of the interior of various purposes, the issues of optimization of energy consumption led to the need for special scientific methods, theoretical and practical techniques that could be tools for contemporary artists and designers.A number of inevitable factors of the color environment interconnected and which may be instruments in reducing the energy consumption of the premises by means of colorization are determined. Namely: the type of source of light, the color of the light flux, the force or "measures" of brightness, depending on the material covering the elements of space and the nature of the texture of the artistic-decorative form, its reflective action, which reflects and affects the overall color of the interior. A number of functional possibilities of artistic-decorative forms, located in the color of the spatial environment, are proposed in order to create optimally comfortable conditions for human being.With the help of the analysis and examples given by the author of the article, the main methods, which can be the same tool in the work of the artist-designer, will allow him with more professionalism to approach the decision of the tasks of increasing the energy efficiency of the interior environment, as well as the delivered creative task in placing artistic and decorative forms in the color space of the interior.

Рок-герой – лицо или маска?

The paper examines the mask as a semantic object, which is often used in rock culture and becomes part of the artistic image of the rock hero, who is a subject of rock culture. The mask and the images it embodies can bear positive and negative features and anything can be hidden under its external impenetrability. The scientific problem is: where does the border of animation come from, the line where the face turn into a mask and vice versa? What is a face and what is a mask not in the physical sense, but beyond mental boundaries? How does a face turn into a mask and vice versa, how does one replace the other? When and why are masks put on and removed, and in what cases does the true face of a figure reveal? The work explores the symbolism and meanings of masks in rock culture, shows mask’s value as an important archetypal element in various aspects and with what markers they are marked, as well as what functions the mask performs in the context of figurativeness of the rock hero. How not to lose your face, not to lose your nature, not to become an inanimate mask, but to remain a figure. To a greater extent, this depends on the internal personal struggle and the work of the rock hero himself. The conclusion was made that the mask is a multi-level construct that gives rise to a large space and prospects for creativity, and for a rock hero is often a necessary attribute, an artistic tool.

Мовна метафора та її функції у поетичних творах Івана Гнатюка

У статті висвітлено питання про функціональні особливості метафор як різновиду тропів у поетичному доробку письменника-шістдесятника, лауреата Національної премії України ім. Тараса Шевченка Івана Гнатюка. На основі опрацювання лінгвістичної літератури визначено, що метафора як мовна одиниця вторинної номінації розкриває зміст або призначення невідомого предмета через властивості й дії відомого, є потужним засобом розвитку та збагачення семантики і функцій слів. 
 На конкретних прикладах нами виявлено, класифіковано та проаналізовано мовну метафору як різновид художньо-образного засобу поетичних творів Івана Гнатюка. Визначено функції метафоричних перенесень у віршах автора – номінативну та експресивну; схарактеризовано композиційну роль метафор як засобів інтеграції поетичного тексту: ці лексичні елементи поєднують різні рівні тексту – логічний, емоційно-образний та конотаційний, створюючи неперевершені художні образи. 
 За результатами проведеного аналізу, доведено, що метафора є одним із своєрідних прийомів поезії І. Гнатюка, тому дослідження метафоричних перенесень у творах митця дозволяє значною мірою оцінити своєрідність його поетичної майстерності. Цей художній засіб сприяє найбільш повному розкриттю як оригінальності поетичного тексту, так і специфіки метафори як основи мовної його образності.

A Study on the Usability of Augmented Reality Technology as a Tool for Media Arts in Contemporary Arts

예술과 기술은 서로 영향을 주고받으며 발전되어 왔으며, 새로운 기술의 등장은 기존과는 다른 예술적 표현을 가능하게 하였다. 매체기술의 발전에 따라 등장한 미디어 아트를 비롯하여 현대미술에서는 창작과 관람의 경계가 없어지고 작품을 중심으로 상호작용적인 내러티브가 조성된다. 관객은 관람자의 위치에 머물지 않고 적극적으로 작품에 개입하여 작품의 일부가 되기도 한다. 이 과정에서 상호작용성이 중요해지고, 예술작품을 구성하는 물질도 고정되지 않고 다양한 물질을 사용함으로써 물성의 다변화가 일어난다. 최근 디지털 기술의 발전에 따라서 등장한 가상현실은 현존하는 물질의 세계와 재현되는 비물질의 세계 사이의 경계를 없애고, 특히 증강현실의 경우에는 이 두 개의 세계가 혼합하여 존재한다. 이 과정에서 현존하는 물성과 재현되는 물성에서의 다변화가 일어난다. 또한, 증강현실이 구현되기 위해서는 관람객의 적극적인 참여가 있어야 하므로, 상호작용성이 필요한 요소가 된다. 증강현실에서의 가상의 객체가 드러나기 위해서는 타겟 이미지가 필요한데, 타겟 이미지와 가상의 객체 사이에 다양한 해석이 가능한 의미를 표현함으로써, 은닉된 의미를 극적으로 표현할 수도 있다. 또한, 증강현실을 구현하는 과정에 필요한 다양한 설치와 구성에서 다양한 미술의 장르를 혼합하여 표현할 수도 있다. 이러한 특성들은 증강현실이 예술도구로서의 장점, 특히 현대미술의 예술도구로서 장점을 가지고 있음을 보여준다. 저자의 작품들의 사례들은 이러한 증강현실의 특성이 어떻게 현대미술의 도구로서 사용될 수 있는지 잘 보여주고 있다. 하나의 기술에 불과했던 사진이나 영화와 같은 기술이 시간이 지남에 따라 하나의 예술장르로 정착하게 되었듯이, 증강현실의 기술이 지금은 하나의 표현도구로만 여겨지지만, 많은 작가들의 활용과 노력에 의해서 하나의 예술장르로서 성장할 수 있을 것이다.Art and technology have been developing side by side while borrowing effects from each other for many years. The emergence of revolutionary technology enables alternative forms of artistic expression that have not even been contemplated. As a result of the development of new media technologies, such as media arts, the border between producing and viewing contemporary artwork has been blurred, and an interactive narrative structure has emerged in its place. Audiences no longer assume a passive viewer’s position. They are now actively involved with the artworks and at times become part of them. In this process, interactivity becomes the most important element of the art. Moreover, the materials comprising these artworks are no longer fixed. Instead, they transform into diverse objects, both real and imagined. Based on recently emerging digital technology, virtual reality (VR) erases the division between the real world (presence) and the virtual world (representation). Specifically, in a world enhanced by augmented reality (AR) technology, actual presence and perceived representation are amalgamated into one. In this world, tangible and intangible materials appear together simultaneously. In order to incorporate AR contents, the active and voluntary engagement of the audience-otherwise referred to as interactivity-is an indispensable constituent. To reproduce a virtual object in the real world, a target image matching that object is necessary. This process enables a meaningful relationship that is formed between the target and the related virtual object as a hidden message that can be revealed in a dramatic manner. Moreover, the content implementation, materials, and structures that comprise the AR world can be utilized for various forms of artistic expression, thus demonstrating how AR technology can embrace diverse art genres in unison. These dynamic characteristics suggest that AR will be one of the most rewarding and fascinating tools in the future of various arts. Several examples of AR artworks already express the merits of the technology as a useful artistic tool. Considering how photography and cinematography eventually became recognized as viable art genres, AR technology will likewise be patronized in the near future based on diverse applications and broad acceptance by scores of artists from various art disciplines.

Reflection of the realities in the translation of fiction

Regardless of what a translation is, for example, literary translation, simultaneous translation, scientific translation, translation is recognized as a complex creative work, subject to certain positions and postulates, as well as the translator’s personality. It is also true that fiction is primarily associated with the spiritual world view and way of life of people. Because literary translation is a kind of translation, which is a genre of fiction in another language, self­motivated creative work. It is an artistic tool for cultural and linguistic study of the world, a universal and modern manifestation of human thought, knowledge and understanding. Folk science is a theoretical basis, one of the fields of science capable of solving literary and linguistic problems. And the translation of an artwork is a kind of artistic expression, which is the mastery of the artistic spirit of the original work in another language, accurate, true, qualitative. One of the most difficult problems in translation, especially in literary translations, is the emergence of realities and artistic composition. Realities are also known as “life, culture, historical epoch, social system, state structure, that is, the uniqueness of one nation, its uniqueness for peoples”. The article provides a story by Berdibek Sokpakbayev written in Kazakh “My name is Skin” translated into Turkish and Russian, the question of reality in translation, the concept of reality, the views of linguists and translators, some of the assumptions made in an attempt to analyze and consider the proposals. Key words: translation theory, realities, Berdybek Sokpakbayev, children’s literature, My name is Kozha.

Culture and Identity in Selected New Media Artworks in Malaysia 1993-2007

Contextual analysis studies based on cultural and identity aspects of fine art practice are still limited in Malaysia, especially concerning new media art, although new media as an artistic tool was introduced as early as the 1990s. Since the seminal exhibition on E-art was in 1997, since then systematic examination of new media artworks and their role in the Malaysian art history has only been limitedly done. The early approaches of new media art were varied, yet the subject matter, as discussed in this paper, was still mostly informed by the general proclivities of Malaysia artists at that time. Thus, it can be seen that despite the new technology used and explored, the subject matter of these works is still aligned with similar concerns and contents as can be found in contemporaneous works using traditional media. Thus, as this paper demonstrates, the themes of cultural identity and culture related issues and concerns still persisted as the main subject matter of early Malaysian new media artworks, as can be seen in the oeuvres of Hasnul Jamal Saidon, Liew Kungyu, Niranjan Rajah, Yee I-Lann and T.C. Liew.

OPÓR NATURALNY. AMEREIDA JAKO NIEHEROICZNA WYPRAWA I UNIWERSYTET BEZWARUNKOWY

Przez metaforyczne wyrażenie „opór naturalny” autorka wskazuje na wciąż aktualne przekonanie o konieczności odkrywania „morza wewnętrznego” Ameryki Łacińskiej, nieustającego wysiłku „obmyślania Ameryki na nowo” (M.L. Pratt). Przypomina złożone, ambiwalentne, konsekwencje opisów natury A. von Humboldta dla tożsamości i historii Nowego Świata (wzmożenie kulturowych efektów kolonizacji a zarazem wpływ na polityczną dekolonizację kontynentu). Ten historyczny kontekst jest istotny dla rozumienia projektu dekolonizacyjnego zwanego Amereida, w którym wykorzystano „słabe”, tj. poetyckie, artystyczne narzędzia oporu. Barbaruk przedstawia zrealizowaną w 1965 r. przez architektów, poetów i artystów związanych z Universidad Católica de Valparaíso wyprawę (travesía) z Ziemi Ognistej do Santa Cruz de la Sierra (Boliwia) oraz założone przez nich Miasto Otwarte (1970), w którym połączyli pracę, życie i edukację studentów. Podporządkowanie architektury poezji stanowi według autorki praktykę dekonstrukcyjną, która ma na celu realizację przypisanego uniwersytetowi oporu wobec świata zewnętrznego. Miasto Otwarte stanowić może model „uniwersytetu bezwarunkowego” (J. Derrida), ale też latourowskiego „przedmiotu opornego” (problem odcięcia się grupy od rzeczywistości społeczno politycznej za czasów dyktatury A. Pinocheta).

Socialinio praktikos meno raiškos tendencijų teorinės įžvalgos

Straipsnyje aptariamos socialinio praktikos meno raiškos tendencijos ir galimybės. Nagrinėjama socialinio praktikos meno sąvokos samprata tarptautiniame kontekste, raiškos tendencijos užsienio šalyse ir Lietuvoje. Straipsnio tikslas yra pateikti teorines įžvalgas apie socialinio praktikos meno kūrybos formas ir plėtros tendencijų analizę.Socialinis praktikos menas (Social Practice Art, SPA) yra meno priemonė, orientuota į menininkų ir įvairių socialinių grupių bendrą meninę veiklą per socialinį diskursą. Socialinis praktikos menas atsirado reaguojant į didėjantį meninio ugdymo poreikį bendradarbiaujant su socialinėmis grupėmis multikultūrinėje aplinkoje. Vis daugiau pasaulio menininkų, kuratorių, kritikų ir meno administratorių koncentruojasi į naujo tipo praktiką – vadinamąjį meno aktyvizmą. Viena tokio aktyvizmo rūšių apibūdinama socialinio praktikos meno terminu. Šia veikla siekiama teigiamų pokyčių konkrečiose bendruomenėse, susiduriančiose su aktualiomis problemomis: rasizmu, miesto gentrifikacija, žala aplinkai, nestabiliomis darbo sąlygomis, dideliu įkalinimo lygiu, pasauliniu pabėgėlių antplūdžiu ir pan.Menininkai, dirbantys socialinio praktikos meno srityje, kuria bendradarbiaudami su konkrečia auditorija arba siūlo kritines intervencijas esamose socialinėse sistemose, kurios įkvepia diskusijas arba skatina socialinius mainus. Europoje tai kol kas naujas reiškinys, tačiau jis jau randa savo vietą daugelyje valstybių, kuriose gyvuoja stipri kūrybinė klasė, judantys migrantų srautai ir yra didelė klasinė atskirtis – Jungtinėje Karalystėje, Vokietijoje, Nyderlanduose ir kitose šalyse. Lietuvoje socialinio meno vertinimo problemos yra analizuotos nagrinėjant Kaune vykdytą projektą „Šančiai – draugiška zona“ (Dovydaitytė, 2014). Šioje studijoje aptariami socialinio praktikos meno veiklos vertinimo principai. Įvairiose pasaulio šalyse pradeda plisti naujos galimybės, todėl, siekiant atskleisti šių galimybių potencialą, svarbu analizuoti šio perspektyvaus proceso raidą.