Art World Research Articles

AI Image Generator

In recent years, the field of artificial intelligence has witnessed remarkable advancements in image generation, with Open AI at the forefront of this innovative wave. This abstract explores the development and implications of an Image Generator using Open AI technologies, emphasizing its potential to facilitate creative expression through AI-generated art. The foundation of this Image Generator is rooted in Open AI's GPT-3, a state-of-the-art deep learning model that has demonstrated remarkable capabilities in natural language understanding and generation. Leveraging GPT-3's prowess, the Image Generator harnesses the power of generative adversarial networks (GANs) to produce visually stunning images. This amalgamation of technologies allows artists and creators to transcend traditional creative boundaries by generating art that is both novel and visually captivating. One of the key features of this Image Generator is its ability to generate art based on textual prompts. Users can provide descriptive or conceptual inputs, and the AI model interprets these prompts to create images that align with the given descriptions. This process not only sparks creativity but also offers a unique medium for artists to convey abstract ideas and emotions visually. Moreover, the Image Generator incorporates neural style transfer, enabling users to merge artistic styles and concepts seamlessly. The implications of such a tool are profound. Beyond serving as a source of inspiration for artists, it democratizes the creative process, making it accessible to individuals with varying levels of artistic expertise. Additionally, it has potential applications in fields such as advertising, graphic design, and entertainment, where generating captivating visuals is paramount. Nevertheless, ethical considerations and challenges, such as issues of copyright, authenticity, and the potential for misuse, should be addressed as the technology evolves. Open AI's commitment to responsible AI development is crucial in navigating these complexities. In conclusion, the Image Generator using Open AI is a testament to the transformative power of AI in the realm of creative expression. It empowers artists and creators to explore new dimensions of artistry while presenting opportunities and challenges that require careful consideration. As this technology continues to evolve, its impact on the art world and beyond is likely to be profound, opening up new horizons for human creativity and innovation.

Pendampingan Membuat Anyaman Untuk Menciptakan Kreativitas Siswa Sekolah Dasar

Craft arts will continue to develop and become more interesting and unique as time goes by. The world of art is actually able to create diversity that is of interest to many groups. There are many unique phenomena in the development of woven art or also known as woven. Wicker is basically an inanimate object that can be related to daily activities, especially in the world of architecture or craft products which include interior and exterior aesthetic values. This woven material can be made into a miniature form which can produce various kinds of results such as baskets, mats, bags and crafts. This woven material can be made using various media, for example paper, bamboo, ribbon, etc. Creativity is part of the field of fine arts that can be used in production or creative activities. Various activities in the field of fine arts can provide opportunities to develop the creativity of elementary school children. Creative activities can enable young children to channel their creative talents through several activities, including: drawing; print; stick. Not all children are motivated to channel their talents because there is less encouragement from adults. The cause of low creativity among children in Indonesia is an environment that does not support children to express their creativity, especially the family and school environment. SBDP focuses on students learning skills and arts, this activity can train skills, be creative, actively innovative, for students to work well into the future.

Поэтика вещи в творчестве современных татарских поэтов как воплощение национального культурного кода

The study of the specifics of the artistic embodiment of the national cultural code through the material world in modern Tatar poetry is of scientific interest to researchers. This article provides a systematic and comprehensive analysis of the creativity of modern Tatar poets Renat Kharis, Robert Minnullin, Ravil Fayzullin, Sania Akhmetzyanova, who create their works in the Tatar language, and it is revealed that images of home and homeland occupy a large place in their artistic world, an important part of which the “material world” appears, elements of national clothing (ak kalfak — women’s headdress, skullcap — men’s headdress, ichigi — leather boots, musical instruments — kurai, accordion, domra), white or embroidered towel).

Вещное окружение как средство формирования психологизма в повести Л. Н. Толстого «Смерть Ивана Ильича»

The article examines the specifics of the material environment in the story by L. N. Tolstoy “The Death of Ivan Ilyich” as one of the ways of forming psychologism. The artistic world of the work, saturated with material details, on the one hand, characterizes the inner world of the hero, on the other hand, it becomes an active participant in the action, ultimately causing the death of Ivan Ilyich. The story presents a specific image of a house-grave, in contrast to a house - a place of strength, unity, harmony, as in earlier works (“War and Peace”, “Anna Karenina”). Ivan Ilyich’s home, furnished with excessive attention, is filled with a huge number of things that create a kind of “rebellion,” hasten the owner’s departure, make the last days unbearable, and even after his death, distract the attention of those who came to say goodbye. Things in the story appear as an integral part of life, taking away vitality from people who have chosen a soulless existence and become hostages of these very things and external gloss.

Поэтика вещи в книге сказов П. П. Бажова «Малахитовая шкатулка»

The article deals with P. P. Bazhov’s world of things as an aesthetic unity. The book of skaz (folk tales) of the Ural writer is a unique artistic world, the structure of which is defined by a system of several basic oppositions. It is a world extremely full of things, such as household items (people’s everyday lives), clothes (social status, the «us-them» divide), instruments and tools of craft (key topics of handicraft / craftsmanship) etc. A special role in this objective world is played by artisan products that combine the functions of a household item, an artefact and a magical object, and magical objects per se that are received from a donor but are usually different in function from their proper fairytale counterparts, which are common to the traditional Russian folklore and literary fairytales based on folklore stories. Bazhov’s system of images-things also includes a specific «human as a thing» category that is connected with the main conflicts of the book depicting serfdom-based mining civilization. Generally, the peculiarity of the world of things in «The Malachite Casket» is defined by the «borderline» nature of the skaz genre, its complex relationship with folklore and the unique character of Bazhov’s aesthetic experiment.

Dimensions of freedom of Ukrainian art in the late 80s and early 90s of the 20th century and their manifestation in artistic associations of that time

The relevance of the research topic lies in the insufficient study of such a period of Ukrainian art as the turn of the 1980s and early 1990s, when banned artists came out of the underground, taking advantage of the weakening of the ideological pressure of the Soviet system, and led powerful artistic movements involved in the formation of dimensions of free creativity. The purpose of the work is to clarify the conditions for the development of Ukrainian art at the turn of the 80s and 90s of the 20th century, and to highlight the importance of creative associations in the process of artists’ realisation of new tasks in the emerging continuum of freedom (on the example of the associations “The Way” and “The Strontium-90”). The methodological apparatus of the study consists of three stages (preparatory, research and synthesising) using the following methods: analysis of literary and scientific sources, dialectical method in the emergence of a new phenomenon, method of logical analysis, method of critical and comparative analysis, synergistic method, generalisation, method of hypothesis and forecasting. The study found that at the end of the 1980s, under the influence of the Chornobyl disaster, Ukrainian “unofficial” art left the status of marginal, and its representatives became the forerunners of a new free creative continuum. The artists of the new generation, using the neo-avant-garde experience of their colleagues and the factor of freedom of expression, strive to use the latest creative practices, which has connected them to the global artistic space. The study argues that neo-mythologism, as one of the main principles of world art of the second half of the 20th century, at the turn of the 1980s and 1990s became decisive in the process of creating a free artistic continuum. This principle led to the most individualised figurative system of expression of Ukrainian artists of the new generation. The paper examines two artistic associations, “The Way” and “Strontium-90”, and their role in shaping the Ukrainian free creative continuum. The practical significance of the study lies in the use of the results in the creation of recommendations and methodological guides on the history of Ukrainian art of the 20th and 21st centuries and gallery business

Fabulating Archival Arts: An Exploration of the Complexities of Politics, History, and Memory in a Postmodern Context

Archival art, which emerged in the last century, has become a significant influence in the art world, challenging the constraints of traditional historical narratives. It offers viewers a more nuanced and inclusive framework for thinking, providing an alternative engagement with history free from dominant past narratives. This paper undertakes a comprehensive analysis of two significant archival artworks, namely the Atlas Group and Sputnik. Through this analysis, it aims to elucidate the societal impacts engendered by archival art that adopts critical fabulation as a strategy. Combining textual and graphic analyses with perspectives from postmodernism and deconstructionism, the research demonstrates that fictional archival art stimulates profound contemplation of the interconnectedness between the past, present, and future through artistic expression. It also examines the emotional impact of revisiting the past, records, and memory. By navigating the complexities and ambiguities of postmodern society through archival artistic expression, we can foster a more inspiring approach to understanding this art form.

Ideology of the Image: Wu Guanzhong's Abstract Expression, 1979–1983

This article examines the discourse of abstraction among Beijing intellectuals in response to the artist Wu Guanzhong's 吴冠中 (1919–2010) published essays on formal and abstract beauty from 1979 and 1980. By introducing Wu through a new critical lens that emphasizes his writings and institutional critique, the author addresses how abstraction was repurposed for early post‐Mao China. Where institutional elites in Beijing regarded painterly abstraction with unease, owing to its continued associations with the bourgeois‐capitalist art worlds of Paris and New York, this article shows how Wu performed an aesthetic intervention through writing, utilizing scientism and Maoist logic to filter abstraction through the still‐hegemonic language of radical materialism, which allowed abstraction to take hold as a renewed term of engagement in the early post‐Mao art world by 1983. This article is a shortened version of a chapter in the author's recently published book.

The ideological and artistic features of the travelogues about Turkey in the Russian parent state literature of the 1920s (based on Summer in Angora by E. Lanceray and Istanbul and Turkey by P. Pavlenko)

The article discusses the travelogues of Turkey by E. Lanceray and P. Pavlenko. If, until 1917, the Russian literature had described Turkey from the ethnographical and geographic perspectives or had made it a part of modernist vision, in the 1920s, the authors wrote mainly about its political, social and cultural changes. The aim of the article is to analyze Turkey’s image in the parent state literature of the 1920s, close the lacuna in its Asian text and form a more complete understanding of the Russian literary process of that period. The article uses the descriptive, biographical and culture-historical methods of research. It concludes that so different writers as Lanceray and Pavlenko representing the unlike generations and artistic worlds and making different accents in their writings – on ethnography and the formation of a new statehood, respectively – are prone to interpret the revolutionary changes taking place in Turkey optimistically. Therefore, the Turkish motive and thematic vector should be viewed as a relevant stage of forming the ideology and aesthetics of a new artistic method, which is to be known as socialist realism subsequently.

Reception of A. Varlamov's Creativity in Chinese Literary Studies and Criticism

The subject of the research is the reception of A.N. Varlamov in Chinese literary criticism. The object of the study is critical articles, literary works devoted to the work of A. Varlamov, and an interview with the author. The novelty of the article is determined by the fact that the works of Chinese researchers are analyzed in order to characterize critical judgments about the work of a modern Russian author, taking into account national specifics. The article highlights the main aspects in the field of studying the work of A. N. Varlamov by Chinese criticism and literary criticism. It is determined that Chinese researchers pay attention to the consideration of religious themes in the writer's prose, and also analyze Varlamov's creative method, defining it as neo-release. The main conclusions of the study are the definition of aspects of the study of religious themes in Varlamov's novels, such as eschatology, the level of morality and religiosity in Russian society, the spiritual salvation and rebirth of man, sectarianism. According to critics, Varlamov's work shows sectarianism as a viral idea of the Russian people, poisoning the collective consciousness and historical memory. The creative method of A. Varlamov is assessed by critics as neo-releaseism, the features of which are marginal heroes, a combination of mysticism and realism, artistic time-space. Chinese literary scholars also note mythological prototypes and folklore elements that are important for Varlamov's works. The main contribution of the author to the study of the topic is that the points of view of Chinese literary scholars and critics are considered, which expand the reception of Varlamov's work in world art, complementing a single receptive field, organizing a dialogue of cultures.

The Most Unkindest Cut of All

When a fee decrease is actually a fee increase in the world of fine art and luxury goods auctions.

Mapping the Discourse of Gender Subordination in the Art World in Indonesia

Instead of hastily trying to throw out a discourse that rarely or has never appeared in related discussions, what then becomes the breath of the analysis in this scientific article is an effort to mapping the position of women's gender subordination and the representation of women artists discourses in the dialogue of a special scope, namely Indonesian art world. The analysis was carried out using three theoretical concepts, namely subordination, symbolic violence and representation in the art world in Indonesia. By conducting a literature study on literature and art events, the results of this scientific research show that: (1) Collective awareness is believed to support the articulation of resistance to gender inequality; (2) This awareness extends to the involvement of male artists as well, but there are other articulation practices that are more reflective in nature, meaning the construction of the gender identity of the female artist; and (3) The condition of gender inequality is also voiced in-depth reflections aimed at erasing the gender dichotomy caused by stereotypes.

중일(中日) 근대문예론의 형성과 그 이동(異同)에 관한 소고(小考)

This paper attempts to compare the literary theory of Tsubouchi Shoyo(坪內逍遙), which was developed from the 'arts-the arts' examined throughout Wang Guowei's(王國維) literary theory, and Wang Guei's literary theory, which was established as the early modern Japanese literary theory. As Tsubouchi Shoyo's first statement, 'Novels are art(美術)' in 『Shosetsu Shinzui(小說神髓)』 opened the chapter of modern Japanese literary theory, this paper aims to explore Wang Guowei's literary theories in relation to the formation of modern literary theory in China. Therefore, in the case of the formation of Japanese modern art theory, Tsubouchi Shoyo's use of Western literary theory and logic in his own way within the magnetic field of pragmatic thought and literary dance theory that spread throughout Japanese society in the 1880s, while building a literary theory that incorporated the discourse of the Japanese art world at the time, was used as a guide to examine the formation of Chinese modern art theory and Wang Guowei's literary theory treatise. This was further utilized to examine the shifts in the theses that were common to their literary theories. In fact, the formation environment of Sino-Japanese modern literary theory was different in terms of its reception and paragraph situation according to the way the two countries experienced modern East Asia, but there are also similar points. It is also true that Wang Guowei's and Tsubouchi Shoyo's views and arguments on the literary arts developed in very different ways after they published their literary theory works and related papers, depending on their respective life trajectories and the circumstances of their respective countries. Nevertheless, neither Tsubouchi Shoyo nor Wang Guowei built a separate literary theory that completely excluded the dominant discourse in the academic and literary circles of their time. Rather, Wang Guowei, who studied a wide range of disciplines, including mathematics and natural sciences, could be said to have been more attuned to and thought about the axioms of modern China's time and built his literary theories in response to them.

Shifting the Lens: Photography's Expanding Influence in the Contemporary Art World

Photography plays a significant part in contemporary art and is fitting as a multi-purpose tool for expression, communication, and documentation. This study examines multifaceted photography and how it impacts the arts in today’s world. The growth of photography from representation to a complicated form of art has transformed the world of art. Artists employ photography to explore different themes, experimenting with techniques and pushing against traditional confines, revealing its flexibility and appropriateness within modern art. The transformative influence of photography that conveys emotion, narratives, or social critique can be observed through such photographers' perspectives. Also, incorporating itself into modern visual culture made itself an international language transcending cultural differences. It captures the essence of our globalized reality, where technological advancement connects societies at breakneck speed. This study takes a deeper look into the philosophical implications of photography on contemporary art, mainly focusing on its shaping effect on perceptions, sparks important discussions, and reflects the complexities of modern society. Ultimately, photography plays a vital, ever-changing role in contemporary art. It connects traditions with future innovations, embodying the spirit of creativity, diversity, and cultural exchange in art. Artists, scholars, and practitioners continue to recognize photography as a powerful tool that enriches the understanding of art and society in the 21st century.

Boycott of Foreign Goods in Premchand’s Stories

This article showcases that studies on Hindi and Urdu literature are also being conducted outside South Asia and that elsewhere, too, such literary studies and socio-political analyses are being combined in quite specific ways. Boycott of foreign goods was one of the most important parts of colonial India’s freedom struggle and many intellectuals from the literary and art worlds expressed their views on it. In his Hindi and Urdu stories, Munshi Premchand used his unique narrative technique, critical perspective on social events, and deep understanding of Indian society also to comment on the boycott of foreign goods. The article examines how such reflections of India’s struggle for independence manifest in two of Premchand’s lesser-known stories in which he argued for boycotting foreign goods. Our analysis portrays Premchand as an activist writer, who chose common people’s language to present gendered social documents, in a form akin to oral history, as his specific contribution to India’s freedom from foreign rule.

Bereavement And Melancholy in Cinema: A Comparative Review Between Turkish and American Cinemas

Cinema is one of the most vivid and sensational reflection tools in the art world since it reverberates almost all emotions concerning human beings and their experiences. One of these emotions is grief due to the loss of our beloved ones and in the same way as existence and life, it is a striking issue covering lots of films and thus the concept of mourning and sorrow are the most outstanding and common themes having a profound impact on cinema audiences. In other words, despite cultural and social differences all around the world, grief and pain are intense and universal emotions. Understanding and interpreting the contexts in which these emotions are addressed in different cinema cultures is essential to reveal the cultural projections of cinematic narratives. As part of this idea, the main purpose of this study is to illustrate how Turkish Cinema and American Cinema approach the concepts of bereavement and lament. Accordingly, four well-known films, Canım Kardeşim (1973) Babam ve Oğlum (2005), Rabbit Hole (2010) and finally Manchester by the Sea (2016) have been determined via purposeful sampling method and analyzed by focusing on remarkable similarities and differences in terms of loss and death with the aid of descriptive analysis. As a result of reviews of the films, it has been observed that the Turkish approach to death and loss includes melodrama, emotional abuse, and local connotations while the American one involves a more realistic point of view underlying individual crises, mental collapses or devastations.

“Lunar New Year” by A. Parkau: cultural memory

This article considers the Russian émigré literature in China in the aspect of implementing the principles of intercultural communication and interaction between the cultures of Russia and China. Scholars began to study it in the 1990s, and currently the work of many Russian writers from Harbin and Shanghai remains unexplored. Features of the interaction of national traditions are analyzed in the poem “Lunar New Year” (Chinese New Year) by the poet of the Russian diaspora — A. Parkau, published in the poetic book Unquenchable Fire. Her artistic world still is not in the focus of the scholars. The poem “Lunar New Year,” included in the Bitter Paths cycle, is the artistic description of the Chinese holiday. Its content is determined by Chinese culture, and its artistic form is determined by the Russian poetic tradition. The article traces the connections of the poem with Chinese culture and philosophy, on the one hand, and with the contexts of the Russian poetry of the 19th century, expressed in poetic meters, on the other. The authors of the article examine the compositional and semantic principles of organizing a book of poems and come to the conclusion that the analyzed poem is included simultaneously in several cycles — calendar, reflecting the life of nature, and social, expressing the existential ideas of emigrants, expressed with the motives of loneliness, and fear of death, among others.

THE METAMODERN CONTEXT OF NARRATIVE STRATEGIES IN M. ZUZAK'S NOVEL "THE BOOK THIEF"

The article examines the narrative strategies of Markus Zuzak's novel "The Book Thief" from the perspective of metamodern aesthetics and the concept of metaxis. The article outlines the modern trends in the development of literary studies, which actualizes the problems of narratology at all functioning levels in the image of the human world, which draws special attention to the question of implementation forms and living of the narrative within the limits of the artistic work as a functional system that has signs of closure and openness. By narrative strategy, we mean a way of representing the artistic world of the text, characters, and the author, which is unique for a certain work of art, which is carried out through the mediation of the narrator. The narrative strategy in the paradigmatic (narrative as a variant of the narrative strategy of the text in the body of culture) and syntagmatic (narrative as a way of interaction between the narrative and the plot) dimensions of the work is also considered. The following aspects (or separate strategies) are distinguished in the novel's narrative strategy: the communicative one, which captures the peculiarities of communication as an interaction of the structural elements of the narrative and narrative instances; the event, which records the event as external or internal to the plot, the movement of the characters and their interaction, the visual and phenomenological aspect of the event, signs of heterogeneity, chronotypicality, intelligibility, factuality are also outlined; temporal, which examines the narrative from the point of view of its temporal regime; fictional, which considers the relationship between the reality of the text system and the environment (reality, culture) in which it is located; aesthetic, which captures the peculiarities of the aesthetic reception of the work in combination with its substantive and formal components; metanarrative, which considers the narrative as the subject of the next narrative, and performative, which interprets the forms of correlation and identification of speech and action in the narrative.

THE ORIGIN AND DEVELOPMENT OF ROCK MUSIC IN UKRAINE: THE SEARCH FOR CULTURAL IDENTITY

The aim of the article is to carry out an attempt to carry out a comprehensive analysis of the musical-aesthetic, socio-cultural, cultural-historical prerequisites for the development of rock music in Ukraine, which influences the musical-aesthetic thesaurus, forms the aestheticosphere, value orientations and, ultimately, determines the national-cultural identity of a young person. It is worth proving that musical culture, including the rock industry, has become the embodiment of musical ideals and mental and ideological attitudes of the Ukrainian music lover, which in turn influenced the processes of national identification and left a characteristic imprint on the ethnonational mentality and musical culture as a whole. The methodology of the research consists in the synthesis of art and cultural approaches to the study of the phenomenon of rock music in the Ukrainian art space, in the use of dialectical methods of analysis, synthesis, comparison, generalization and interconnection of cultural identity with the musical culture of the Ukrainian nation. The scientific novelty lies in the theoretical comprehension of the vocal and instrumental art of rock music in Ukraine as a phenomenon of musical cultural genesis and a form of national and cultural identification, in the implementation of cultural and artistic reflection on this genre and style variety. For the first time, the retrospection of Ukrainian rock music is presented in the context of cultural and historical processes of national identification. Through the prism of the author's approach, rock music appears as the embodiment of artistic and aesthetic ideals and mental and ideological trends, leaving a characteristic imprint on the processes of national and cultural identification, ethno-national mentality and the musical culture of Ukraine in general. The studied material allowed us conclusions that the formation and development of domestic rock music covers four stages. The four stages of the functioning of domestic rock music, which we have studied, contributed to the search for national and cultural identity, focused on the national aspect of the rock industry. In turn, this influenced the formation and cultivation of national features in rock music and musical culture as a whole, namely: in the introduction of the Ukrainian language as "fashionable" in the youth rock environment, in authentic intonation inclusions in arrangements, rock compositions, in the names of works and bands; in the use of folk traditions, folklore themes, regional motifs, dialects in vocal and instrumental rock sound of Ukrainian origin. These musical, aesthetic and cultural features of the national rock music contributed to the establishment of national and cultural identity, the popularization of the Ukrainian segment and the entry of the national musical culture into the world art space. The materials of this article were tested by the author in the process of teaching the course "Modern Popular Estradna Music" in the structure of secondary and higher music education and as a special course in out-of-school art education. A manuscript of the textbook of the same name has also been prepared, where domestic rock music is presented as a trigger and a business card of the national, cultural and musical identification of Ukraine.

Огюст Бризё как тип романтического певца локальной культуры

The aim of the research is to identify the main features of a creative type embodied in the figure of A. Brizeux. Based on the analysis of the poems “Marie” (1831), “The Bretons” (“Les Bretons”, 1846) and “The Breton Elegy” (“L’Élégie de la Bretagne”, 1857), the paper describes the main features of the artistic world created by the writer, as well as the most significant features of the author’s poetics. The paper is original in that it provides a typological examination of the Breton poet’s creative work, focusing on the analysis of the works on the Breton theme, which was most important to A. Brizeux. This approach significantly differs from a complete description of the writer’s creative heritage (with all the incidental details distracting from the main material) and is closer to a thesaurus-based thematic and content-based limitation in the selection of research material. Such a method brings typical features to the foreground and emphasizes them: Brizeux is not just the “bard of Brittany” (the most widespread and well-established view of the poet), but the “bard of Brittany” who lived in an era dominated by Romantic tastes in literature and, therefore, saw his homeland in a way that poets of other eras could not. As a result of the research, it has been found that A. Brizeux represents, firstly, a type of writer not uncommon for the Romantic era, who actualized interest in local culture (Breton culture) and created a romantically idealized image of the homeland, similar to how Virgil created the most memorable myth of “blessed Arcadia” in the “Bucolics”, and, secondly, a type of writer who simultaneously participated in processes characteristic of different Romantic literary periods: the rethinking of poetic norms and the practical transformation of genres.