Art World Research Articles

Eds.) Micaela Latini, Elena Tavani, Connected Images: New Paradigms for Aesthetic Experience Paradigmi, Rivista di Critica Filosofica, XLI, 3/2023.

Performativity, connection, aggregate, conflict, Stimmung and artificial intelligence are among the topics chosen by the authors of the monographic issue of scientific journal Paradigmi, Rivista di Critica Filosofica dedicated to Connected images: New Paradigms for Aesthetic Experience, edited by Micaela Latini and Elena Tavani. Numerous contemporary and transdisciplinary forms of interpretation represent aesthetic experience in this Issue. It approaches the art world with Nature and the images naturally created by animals and natural environments (Tavani), the body in motion and its intentionality represented by images (Alloa, Benjamin), the body and time in tattoo images (Vercellone), the biological world and molecular discoveries (Bredekamp), furniture objects and the image of aesthetic experience they suggest (Goehr), political and social conflicts and what they represent (Latini), and pictures of music (Pangrazi). The last essays follow this mainly focused on the digital context, artificial intelligence and the technological impact on the art world and of chiasmus in images (Diodato), political rhetoric (Fimiani), surreal image interventions in the world of artificial intelligence (Somaini) and identity and the constitution of algorithms (Eugeni).

Editoriale

The environmental and social crisis that confront our century calls to a quest for new scenarios and landscapes and a reflection on such challenge. In this issue, the question of landscape is approached from a variety of viewpoints, ranging from the more philosophical to the strictly urbanistic. Some of the essays also focus on technology and geography. It is clear that, from engineers to biologists, from architects to the players of the art world, there is a strong interest to imagine future landscapes able to generate forms of life in which one can recognize oneself, and as such more sustainable.

Proof-of-Stake Non-Fungible Tokens, the Distributed Autonomous Organization, and the Valuation of Art: A Proposal for a Nonprofit, Community Controlled NFT

Abstract This paper describes a way to use blockchain-based non-fungible tokens (NFTs) to address some fundamental failures of the art world introduced when the early-twentieth-century evolution of financial markets expanded to include objets d’art as commodities. It proposes the creation of a distributed autonomous organization (DAO) that uses domain experts’ Delphic consensus methods embedded in smart contracts to provide NFTs with meaningful nonfinancial assessments of intrinsic artistic qualities and merit. Full details of the blockchain implementation and organizational development are online, registered at https://doi.org/10.17605/OSF.IO/3DF4W with the Open Science Foundation as a large-scale participant/observer social science experiment.

“Me? I’m No Revolution. I’m No Heroine.” Reconfiguring the Dissident in Contemporary Polish Theater

The figure of the dissident has become one of the key symbols of political opposition to Communism in Poland, with former dissidents playing a significant role in shaping the post-socialist and liberal order. While highly visible political struggles in polarized Poland have been foregrounded in confronting the Communist and dissident past, the seemingly less spectacular and more modest attempts at rethinking and reinterpreting the figure of the dissident that has emerged in contemporary Polish theater have gone almost unnoticed. This article examines how two contemporary theatrical plays engage with the polarized political discourse in Poland by problematizing the complex and gendered experience of dissidence. The artistic and political significance of the plays is elucidated against the backdrop of conservative and right-wing tendencies in the contemporary public sphere and artistic world that redefine the broader context within which Polish cultural producers operate. Zooming in on how these performances generate new representations and meanings of the anti-Communist political opposition, the article shows how the plays offer an occasion for rethinking and reinterpreting the figure of the dissident and its troubled legacy. As they explore the fields of tension that open up between individual political commitment and the relational and collective experience of dissidence, the plays make visible how the figure of the dissident has become a tool in remaking a Communist and post-socialist past and shaping a polarized present.

Философия поэзии: проблемы изучения (обзор материалов «круглого стола»)

On October 24, 2023, as part of the scientific project of the A.M. Gorky Institute of World Literature of the Russian Academy of Sciences “Literature through Philosophical Prism: the History of Russian Lyrics in V. Solovyov’s Aesthetics”, supported by the Russian Science Foundation (RSF, project No. 23-28-00800), with the participation of the Moscow State Budgetary Institution of Culture “‘A.F. Losev House’ – Research Library and Memorial Museum” and with informational support from the journal “Voprosy Filosofii”, an International Round Table “Philosophy of Poetry: Problems of Study” was held. During the round table, the following groups of questions were discussed: 1) How do literature and philosophy interact in Russian lyric poetry from the late 18th to the early 20th century, and what are the connections between philosophical ideas reflected in contemporary philosophical concepts prevalent in the intellectual environment? How was poetry perceived and interpreted by Russian philosophers (Vl. Solovyov, N.A. Berdyaev, S.N. Bulgakov, A.F. Losev, S.L. Frank, and others), and what are the forms of influence of their philosophical-aesthetic systems on poetic creativity, including through literary criticism? 2) What are the theore­tical foundations and chronological boundaries of the existence of “philosophical poetry”? What are the similarities and differences between “philosophical poetry” and “poetry of thought”? What is the relevance and what are the epistemological possibilities of poetic anthropology, ontology, and gnoseology? 3) What are the mechanisms for generating philosophically rich symbols and mythologems in poetry? What are the teleological foundations of artistic rhythm? What function do the spatial-temporal coordinates that form the artistic world of lyric poetry serve?

The Artistic Philosophy and Cultural Connotation of Printmaking Technology — Taking Woodblock Prints as an Example

In the course of historical development, Chinese woodcut has developed its own unique artistic style through inheritance, absorption and gradual development. Woodcut is a trend in the development of contemporary diversified art. Its historical development and inheritance is not only the unique spiritual wealth of Chinese traditional culture, but also an important issue that the Chinese art world must face squarely. In the future development, Chinese woodcut prints should adhere to the excellent tradition and be applied in combination with the development of the new era.

Analysis of the Role of Augmented Reality in Bringing Works of Art to Digital Spaces

Augmented Reality (AR) has become increasingly popular in the art world as a medium for bringing traditional works of art into the digital space. This research aims to analyze the role played by AR technology in the process of transforming works of art from the physical environment into the digital domain. This approach pays attention to the technical aspects, aesthetics and cultural impact of applying AR in digital art exhibitions. This research method involves literature analysis, case studies of various art exhibitions that use AR, and interviews with artists, curators, and exhibition visitors. Qualitative data was analyzed thematically to identify emerging patterns and trends in the use of AR in artistic contexts. The research results show that AR has great potential to enrich the visitor experience in digital art exhibitions by providing interactive and contextual layers that cannot be accessed through conventional mediums. Additionally, AR can also act as a tool to convey additional narratives, broaden the interpretation of works of art, and increase visitor participation in the creative process. The research also identified several technical and conceptual challenges associated with the use of AR in art, including issues of technological sustainability, accessibility, and artwork integrity. Nonetheless, overall, this research highlights the great potential of AR in bringing works of art into digital spaces and provides valuable insights for the future development of digital art exhibitions.

The World as Allegory in Cartography Symbolic and allegorical reference systems in the aesthetics of digital cartography

This philosophical essay explores the idea of the world as allegory in cartography, drawing on the works of Hannah Arendt, Walter Benjamin, and Nelson Goodman. It argues existentially that maps are not only representations of measurable objects, but also of aesthetic experiences. It analyses epistemologically how maps use symbols and allegories as representations to determine meanings or reveal truths. And finally, it shows how digital maps today, like works of art, reflect and shape world views and how, as a medium, they are interwoven with the perception, cognition and (inter)action.

Toward a community model of scholarly editing: FAIR/CARE, research ethics, & labour visibility

Historically, scholarly editions of music have identified a managing editor and individual volume editors. Other contributors might receive an acknowledgement with a vague description of activities, with institutional support often appearing in the printed metadata. This model’s emphasis on single scholars perpetuates a myth, relying heretofore upon predominantly invisible labour. Digital editions require interdisciplinary collaboration combining musicological skills, technical skills, and infrastructural resources, thus challenging this model’s ability to endure. Moreover, digital editions proffer opportunities for reconsidering the roles, workflows, and knowledge structures involved in critical musical scholarship. Situated at the intersection of currently running and recently completed digital projects, continuously emergent tools, sociology, and philosophy, this essay reflects on the role of the editor in the digital age. Beginning with Howard Becker’s art worlds model of creative communities, it suggests a model based on FAIR (Findable, Accessible, Interoperable, and Reusable) and CARE (Collective Benefit, Authority to Control, Responsibility, and Ethics) principles and the Music Encoding Initiative (MEI). MEI affords expansive metadata recording for contributors – composers, librettists, performers, editors, researchers, funders, etc. – to a work and its embodiments, which in turn enables broader visibility and empowers greater acknowledgement of the labour involved in such projects. Alongside other digital projects, this essay pays particular attention to how these technological and team-focused concepts are at- and in-play in the Reger-Werkausgabe Online.

Integrating NFTs into Feminist Art Practices: Actualizing the Disruptive Potential of Decentralized Technology

The integration of NFT technology into the art market utilizes a two-pronged approach of decentralization and increased accessibility as an equalizing answer to rectify gender discrepancies in the contemporary art world. This is not the first time that technology as an art medium has been used as a feminist tool to disrupt the previously established status quo. Through the exploration of the 1990’s Cyberfeminist Net Art Movement, this article will discuss how female-identifying artists employ technological characteristics such as anonymity and online gender masquerading to answer the exclusionary issues affecting their art practices. Furthermore, it will examine how NFTs work to build upon the previously established revolutionary movement of the 1990s to evolve the contemporary art practices of feminist artists. Additionally, this article will address the impacts of this new digital landscape, where anonymity is preferred and algorithmic ordering is non-existent, as a more pragmatic way of creating, selling, and buying art. Finally, this article will examine how the integration of blockchain technology—entirely machine-operated and free from human manipulation—aims to eliminate the human biases of identifying factors such as gender that can be concealed or fabricated when operating in an online sphere.

The role of public art has changed in recent times: a study

Public art which falls under the institutional category of visual arts primarily focuses on audience engagement and public representation. Additionally, there are other types of art in public settings that are designed for audience participation. The term Public Art means to those works of art commissioned and sponsored, monuments, memorials, and civic statues and sculpture installed in physical public domain by the Government and agencies and organization, which are especially significant within the Art World. The term is sometimes also applied to include and art which is exhibited in a public space these public art are basically symbolic, imaginary and illustrative representation on the Historical, political and cultural and civic values of the state. While speaking of public sculptures we often speak in terms of its artistic identity i.e. we always look at it and recognize merely as a piece of art only. We cannot undermine its importance in day to day social, cultural and political life. The presence of these pieces of art in any society holds a cultural recognition of that particular society. These are like the index or contents of a book that are sufficient enough to explain the entire subject matter. These public sculptures have become a part and partial of our day to day life. Since the colonial times to the modern era, in India, public art has undergone numerous changes. The institutions of public art and the public realm, media, genres, and forms of public art have all changed over time. Since the last two decades, site-specificity, public engagement, and process-based activities have been the main focuses of art in public spaces. Two types of public space can be distinguished. The first is the actual public space as a location, site, piece or thing. The second is the discursive public space, which is an abstract/conceptual area created briefly as a result of private individuals coming together to talk about or share important and light-hearted subjects. According to Habermas, this discursive space is the public sphere, which includes gatherings and encounters of people in public places like coffee shops, streets, community centers, and parks.

Художествената критика в капан: кризата на субективизма през 20-те години на XXI век

Art criticism has the privilege of being part of all the transformations in the history of Bulgarian art, with its role in the avant-garde situation in the 1990s being particularly significant, which left a lasting impression of its usefulness and necessity for the world of contemporary art. Over the past ten years, critical writing has progressively declined until the last dedicated portal for criticism has disappeared, and this circumstance has given rise to disturbing articles and questions in the public domain such as Where is criticism today?. Numerous attempts have been made to revive it, and the results have shown that not every generation is privileged to participate in a revolution, and not every decade gives rise to the writing of heroic criticism. For this reason, its temporary attenuation is not necessarily a cause for alarm—on the contrary. The self-serving writing and artificial motivation of criticism in recent years have left a more troubling sense of unprofessionalism, naivety, and illegitimate subjectivism in an age that rejects rigid norms and rules about good art. On the one hand, this ultra-democratic nature provoked dissatisfaction from connoisseurs of critical thought, but on the other hand, it placed the artist in the most liberal regional artistic situation of the last hundred years. The text analyzes the typology of contemporary art criticism, the factors contributing to its decline, and the possibilities for its legitimate emergence.

MIKHAIL AND IVAN MOROZOV AS СOLLECTORS OF RUSSIAN ART

In the art history literature dealing with collectors Mikhail (1870– 1903) and Ivan (1871–1921) Morozov, researchers are primarily interested in the artistic stratum connected with European, mainly French, art. The issues of collecting Russian painting, the choice of certain Russian artists, refl ecting the tastes of collectors, the change of artistic preferences in the late 19th and early 20th centuries, almost never attracted the attention of scholars. This article attempts at determining the approach developed by brothers M.A. and I.A. Morozov in collecting Russian art. In this context, it seems logical to analyze some features of their collections: what names and works the Moscow collectors chose, whether it was conscious and deliberate or spontaneous (as the literature characterized the formation of the Russian part of the Morozovs’ collection). Unfortunately, researchers have not always found arguments in favor of the collectors’ choice of certain Russian masters. At the same time, experts convincingly prove that with regard to works by iconic figures of European art, the choice and purchases were carefully thought out, right down to “booking” in advance a place in the hall for a particular masterpiece. Another question is far from idle: can we talk about the common ground for the Morozovs’ aesthetic views and, accordingly, about a certain continuity in their collections? The analysis of their Russian part allows us to conclude that the collections broadly and voluminously represent the panorama of the main Russian art currents from early Plein Air to Impressionism, from the first World of Art works to Symbolism, from imitations of Cézanne and Gauguin to independent avant-garde experiments of Russian painting in the 1910s. One of the characteristic features of the collection of the younger brother, Ivan Morozov, was fi gurative (object) art, as he was not attracted to objectless painting.

The Use of Insect Pigment in Art Works.

In this compilation, the focus is on the Cochineal insect (Dactylopius coccus Costa, 1835 (Hemiptera: Dactylopiidae)), a creature native to South America that produces a potent natural red pigment known as "carmine". This pigment, utilized for obtaining the color red, has been an integral part of the art world for thousands of years. Indigenous cultures, in particular, have employed the dye extracted from this insect in the creation of textile dyes and paintings. Moreover, the Cochineal insect and its unique pigments have not only supported artistic expression but also captivated and inspired artists. During the Renaissance period, artists preferred the carmine pigment produced by the females of the Cochineal insect for obtaining bright and vivid red tones. This study delves into the history of the Cochineal insect, its role in art, and its perception in the modern world. Famous paintings created with dyes obtained from the Cochineal insect are discussed, exploring how pigments have found a place in the art world and how artists have utilized this extraordinary source to create distinctive works.

EXPLORING ARTISTIC FRONTIERS IN THE ERA OF ARTIFICIAL INTELLIGENCE

Artificial Intelligence (AI) has emerged as a groundbreaking force in the world of art, redefining the boundaries of creativity and offering new experiences. This article focuses on exploring the impressive realm of artistic endeavors shaped by AI and how it has changed the traditional art paradigm. The materials and techniques used in artworks produced by AI surpass traditional boundaries, incorporating elements such as virtual and augmented reality, robot technologies, and 3D printing. These approaches make significant contributions to the art world, expanding the boundaries of artistic expression and supporting the creative process for artists. Additionally, AI makes art more accessible to a broader audience, promoting inclusivity. However, these innovations also lead to significant debates in the art world. Questions about the reality of AI-generated art, the role of the artist in this process, and the future of art in the age of AI are prominent. AI-supported or AI-generated art redraws boundaries across a spectrum ranging from complex digital landscapes to interactive installations. The impact and future trajectory of these approaches depend on evolving values in the art world and society at large, holding the potential to transform artistic paradigms at the intersection of technological innovation and creative expression.

The Theme of the Brotherhood of Man in the Works by I. A. Bunin

The article is devoted to the researching of the theme of the brotherhood of people man and its evolution in the works by I. A. Bunin. In the artistic world of the writer, the idea of new — evangelical, fraternal relations between people, based on Christian love, is affirmed. The key images and motives for understanding the evolution of the theme of brotherhood of people appear in the early poems, such as “In Kostyol,” “The Gravestone Scripture:” the image of Christ, the motive of faithfulness to the “covenant of love” and to a new, evangelical relationship between people. In the works of 1914–1916 I. A. Bunin creates the image of humanity, which that has forgotten about God, about Christ, about its original initial brotherhood. There is a tragic motive of destruction of the brotherhood of people man poems “Silence,” “Desperation” and in his stories “Brothers,” “The Spring Evening.” The article pays special attention to the study of the Christian text in the short story “Brothers,” the results of which allow to speak about the Gospel meaning of the word “brothers” in the epigraph and in the title of the story, which are playing the most important role in the expression of the key author’s idea, phrased in the words of Christ. I. A. Bunin’s works of the period of the Russian Revolution of 1917 and of the Civil War, namely his diary “Cursed Days” and his speech “The Mission of Russian Emigration,” are imbued with the tragic motive of fratricide and with images of Russian Cain and Russian Abel. The ideas of brotherhood of people and of the deepest interconnection of all humanity people is heardresounds again in through the works by I. A. Bunin inof the emigration period, in and in his lyrical and philosophical prose of the 1920s. The theme of the brotherhood of people in the works by I. A. Bunin, which undoubtedly has an undoubted evangelical basis, develops throughout the writer’s work, which testifies to its significance for the writer’s worldview and his concept of peace and man.

Digital Transformation in the Arts Field: Creating New Collaborations in the Digital Arts World

Digital transformation has become a major catalyst in changing the way artists create and collaborate in the art world. This article examines how technological advances, including artificial intelligence (AI), augmented reality (AR), virtual reality (VR), and blockchain, are creating new collaborative opportunities for artists. These technologies not only expand the mediums and methods of artistic expression but also introduce new ways for artists to interact and collaborate, both locally and globally. Through analysis of various case studies and interviews with artists, this article reveals the significant impact of digitalization on the creative process and distribution of works of art. In addition, this article also highlights the challenges faced in adopting digital technology, including copyright issues, data security, and changing art market dynamics. In doing so, this article provides a comprehensive view of how digital transformation is driving collaboration and innovation in the arts world, as well as its implications for the future of the arts industry.

Prussian blue pigment: Bridging the historical palette to modern innovations

This comprehensive review explores the multifaceted realm of Prussian Blue, a pigment with a rich history and varied applications tracing its origins, artistic applications, and chemical properties. Beginning with its origins as a laboratory creation, the paper traces its evolution into a revered pigment in the artistic world. The review explores the electronic transitions responsible for Prussian Blue's deep blue hue, shedding light on the intricate chemistry behind its vivid coloration. Additionally, the pivotal role of iron ions in determining the pigment's properties is examined in detail, highlighting the importance of precise composition in achieving desired color characteristics. Challenges in the reintegration of Prussian Blue into conservation and restoration projects are also explored, emphasizing the importance of careful preservation techniques to maintain the pigment's integrity and vibrancy. The review discusses the pigment's lightfastness and stability, addressing common issues such as fading and discoloration over time. A notable phenomenon of bronzing particularly associated with Chinese Blue has been characterized by the appearance of yellow or brown hues on the surface of the pigment, that has puzzled artists and conservators for centuries. The review delves into the underlying causes of bronzing, examining factors such as environmental conditions, pigment composition, and application techniques. The review explores the pigment's interactions with other blues and whites, offering insights into the spectrum of shades achievable through careful color mixing and layering techniques. The paper revisits the perennial debate surrounding the permanence of Prussian Blue. While some argue for its enduring stability and longevity, others point to instances of fading and discoloration observed in historical artworks. The manuscript navigates these conflicting perspectives, providing an understanding of Prussian Blue's permanence in different contexts. Prussian Blue stands as a testament to the symbiotic relationship between science and art, where its molecular structure and vibrant shades continue to inspire both chemists in laboratories and artists in studios. The Prussian Blue emerges as a captivating convergence of art and chemistry that has left an indelible mark on laboratory benches and artists' canvases. The unique interplay of ferric and ferrous ions, not only renders a deep blue color but also makes it sensitive to the variation of its environment. The interplay of its refractive index, bronzing tendencies, and tinting strength shapes its artistic applications, influencing the vibrant hues it contributes to diverse palettes. The permanence paradox surrounding Prussian Blue underscores the importance of precision in its preparation. As artists mix and blend, the pigment unveils its versatility, playing a pivotal role in color harmonies and shade variations. Beyond its role in art, Prussian Blue finds diverse applications in medicinal and industrial contexts. From its use as an antidote for heavy metal poisoning to its incorporation into high-performance materials such as batteries and sensors, Prussian Blue continues to demonstrate its versatility and utility in modern society. The review highlights these varied applications, showcasing Prussian Blue's enduring relevance and evolution beyond its historical roots.

Исследование творчества А.Ф. Лосева в Китае

The article gives a comprehensive overview of the research of Aleksei F. Losev's works and intellectual heritage in China. It is noted that since the first publication about Losev in China since 1988 extensive achievements in this field have appeared. The information and the analysis about the results of researches of the Chinese specialists from different generations are presented. The main innovative aspects are revealed on the example of the study of Losev's aesthetic thought by the author of the article: comparison of the concepts and categories of Western and Chinese aesthetics related to Losev's philosophy. The peculiarities of the poetics of Losev's musical-philosophical prose and his “Eros” writing are revealed. The artistic world of Fyodor Dostoevsky is considered with the help of Losev's aesthetic theory of the symbol. The author believes that the study of Losev in China is on the rise and has broad prospects.

NAJVEČJE SILE ZA DOSEGANJE NAJBOLJŠE VIŠINI IN DALJAVE LETA NA PRESKOKU V MOŠKI ORODNI TELOVADBI

Analysing the take-off forces on the vaulting table can help to inform the athlete about the vaulting technique. A measuring device was used to measure the forces during the Artistic World Championships 2019. The greatest forces were measured during Forward handspring. The mean maximum values were 5.4 times body weight (BW). The highest peak height was calculated for Forward handspring (tucked) at 2.9 m. The longest flight distance was 3.62 m for forward handspring and 3.59 m for tsukahara/kasamatsu. The statistical correlations between the forces and the peak height and flight distance could only be verified for Forward handspring. For the Tsukahara/Kasamatsu and the Yurchenko vaults, no correlation could be proven.