Capacity Of Art Research Articles

Poetry of G.A. Levin on the pages of Saratov publications in the 20s of the XX century

The purpose of this article is to analyze the poetic works of the Saratov poet G.A. Levin, published on the pages of the periodicals «Artistic Saratov» and «Sarrabis» in Saratov in the 20s of the past century. The scientific novelty of the study lies in the fact for the first time the poems of G.A. Levin «The air shines with a blessed blue», «I know, a dark, beloved voice», «Chernyshevsky’s Monument», «The early coolness has been drained to the dregs», «Shakespeare» are mentioned. The article focuses on the aesthetic side of these poems, emphasizing their extreme lyricism and abundance of figurative means. In addition, this study notes the relevance of the poetry of G.A. Levin on the pages of these publications not only because of their external artistry, but also because of their ideological expressiveness. The editorial board of the magazines «Art Saratov» and «Sarrabis» considered the poems of G.A. Levin worthy of understanding, since the goal was to instill good taste in the Saratov reader of the 1920s and teach him to appreciate genuine literary works. As a result, the following was revealed: (a) G.A. Levin gives the images greater ideological and artistic capacity and expressiveness; (b) the poet uses metaphors and epithets not only as conventional methods of expressiveness, but also as forms of holistic knowledge of the essence of the Universe; (c) the poet paid special attention to love lyrics, intertwined Russian and Italian themes in individual poems, and resorted to Shakespearean heroes. The article notes the versatility of the poetic image, and the analysis of the poems is carried out taking into account the influence of the lyrics of famous poets of the Silver Age on Levin’s poetry.

The Future of Cross-Border Cooperation in the Arts: Research and Policy Findings from Ireland and Northern Ireland

This article discusses the current context and activity—and potential future(s)—of cross-border cooperation in the subsidised arts sectors in Ireland and Northern Ireland. By investigating the interconnections between the arts sectors and their social, economic and political context, the article highlights issues that directly and indirectly influence the capacity and willingness of artists, funders and policymakers to engage in cooperation. These issues include the absence of a policy framework; North–South ambivalence; variances around cultural value and evaluation; the need for structures, mechanisms and platforms for exchange; a lack of robust and relevant data; and questions around both the mobility and visibility of artists and audiences. While a lack of focus on civic development remains questionable, in a context of significant resource constraints and disparities, closer cooperation could deliver much-needed economies of scale, value for money, and opportunities for knowledge transfer and skills sharing.

Re-animation and interrogation: Irish visual and performing artists’ encounters with the archive

ABSTRACT Archival art has been burgeoning for almost three decades and archival artists can be seen to engage with important sociopolitical questions concerning official history, collective memory, identity and social power through their use of archival records in art. Yet despite this, until recently there has been a lack of research into this important user group and their creative use of records in archival studies literature. This has slowly begun to change with a number of key studies emerging, however research in an Irish context remains significantly lacking. Through a case study of Irish visual and performing arts company ANU Productions, this research seeks to explore this tendency in Ireland – to examine its motivations, strategies of use, social impacts, and the role of collaboration with archivists within this. The research highlights the capacity of artists to transform records in artworks that, through a process of affective exchange and participatory practice, activate archives in ways that create considerable social impacts; opening archives to new and diverse users and creating spaces in which communities participate in the formation of their own historical narratives – to make visible those who have been hidden and heard those who have been silenced.

“Conjoint Communicated Experience”: Art as an Instrument of Democracy

“Conjoint Communicated Experience”: Art as an Instrument of Democracy

Ageing in Irish Writing: Strangers to Themselves

Ageing in Irish Writing: Strangers to Themselves

Embodying Narratives of Altered Protagonists: A Reading of Great Expectations by Charles Dickens Adapted by Tanika Gupta

The need to revisit Charles Dickens’ novel Great Expectations in an adaptation as a play by Tanika Gupta serves as a renewal of the classic story that signifies the depiction of complex human relationships and its accompanying emotional turmoils. The play in its artistic capacity effectuates a profound rendition, proving to be a workmanship whittled in the fine art of storytelling. It is a story that is redrawn and retold in a compelling tale of love andsearch for identity and its accompanying erasures as its major leitmotif. The plot of the play foregrounds individual tales that we encounter in the consequence of colonial history. In the play, Pip’s centrality as a protagonist, is of someone whose journey of life is mired in the upheavals of love and poverty. Though his decision towards a realisation to become “a gentleman”, in terms of acquiring ‘mannerisms ‘like that of the English, appears to be life changing. However, for Pip, the act of ‘becoming’is a self-defeating act and a decision that has tragic ramifications. The paper focusses on the idea of literary texts and their parallel adaptive coherence that gives impetus to the origination of qualitative ideas as art forms that find a natural embrace with each other. The adaptation also seeks to embody a certain theatrical origination by way of putting the novel within the scope of a vibrant discourse of life’s meanings through stage space. Texts finding a mutual correspondence, is in a way directed to dilate progressive ideas through the stage, is bestexemplified through Tanika Gupta’s adroitness as a playwright.

Transcription for a synth keyboard (the case study of the work of A. Artemiev, V.Martynov, Yu. Bogdanov - the disc “Metamorphoses”)

The author analyzes the experience of transcription of the compositions of J. Bull, C. Monteverdi, J. Bach, C. Debussy and S. Prokofiev for a synth keyboard Synthi 100 done by the Russian composers A. Artemiev, V. Martynov, Yu. Bogdanov in 1980, and released on the disc “Metamorphoses”. The author also considers the composers’ range of artistic tasks and sound solutions and the variants of work with the texture of the original compositions. The electronic interpretations, contained in the “Metamorphoses”, not only demonstrate the examples of transcribing the original text for a synth keyboard, but also illustrate the 4 criteria of electronic music formulated by K. Stockhausen: unified temporal structuring (a common temporal field), the disintegration of sound, a multidimensional spatial composition, and the equality of the tone and the noise.  In spite of the fact that the transcription of classical music pieces for a synth keyboard was carried out by the Russian composers several decades ago, this experience hasn’t been studied yet. Probably, it is explained by the fact that the analysis and description of electronic music using traditional means is complicated, since the material under study is not noted: all transformations carried out by the interpreter are fixed only in the audiorecord.  The analysis of transcriptions is complicated by the fact that electronic instruments are regularly upgraded and transformed, and therefore their artistic capacity is increased. The change of instruments caused the transformation of approach to music art. The article analyzes the transformation of the author’s text, the transformation of a piano texture into the electronic score, and the role of the arranger as a co-author of the composition.  

D. H. Lawrence, Technology, and Modernity by Indrek Männiste

MLR, .,   ‘capacities of art’ (p. ). Simultaneously, Plotz is sensitive to the lasting impact of aesthetic strategies developed between  and , whose ‘operations activate modern imaginations’ (p. ) and serve as ‘historical antecedents for the current upheaval in thinking about states of partial absorption’ (p. ). Semi-Detached is a challenging and highly rewarding account, which illuminates a central but—until now—underexplored aspect of aesthetic experience. B U K K D. H. Lawrence, Technology, and Modernity. Ed. by I M. New York and London: Bloomsbury Academic. . xxii+ pp. £. ISBN –– ––. D. H. Lawrence’s relationship with technology has never been unproblematic. He has been notorious for his vehement rejection of technological inventions, from the telephone to Clifford Chatterley’s electric wheelchair. Early Lawrence critics—the most familiar being F. R. Leavis—have written extensively on Lawrence’s hatred of the industrialized and mechanized world, set against the pastoral landscape, the only medium in which meaningful human relationships could unfold. Recent scholarship has started to complicate such dichotomous views by analysing Lawrence’s complex relationship with science and mechanization, including Fiona Becket’s D. H. Lawrence: e inker as Poet (London: Palgrave Macmillan, ) and Jeff Wallace’s D. H. Lawrence, Science and the Posthuman (London: Palgrave Macmillan, ). D. H. Lawrence, Technology, and Modernity seeks to expand on existing criticism on Lawrence and technology, showing how, as Michael Bell puts it in the Foreword, ‘while driven by powerful conviction, [Lawrence’s] creative insight is subtly flexible and relative’ (p. xiii). e collection assembles chapters written by leading and emerging Lawrence scholars from across the globe. e essays cover a wide range of topics, including robots, the First World War, mining, cinema, and ecology. Partly because of the diversity of themes, the volume is not organized in different subsections, which creates a slight sense of incoherence. As the editor claims in the Introduction, the first chapters offer some general biographical and historical information on Lawrence, while later chapters provide more nuanced close readings of Lawrence’s fiction and essays. e most successful essays analyse Lawrence’s works from a historical perspective , examining the cultural context of the period while offering thoughtful and innovative close readings. Andrew Harrison’s essay provides a new reading of Lawrence’s short stories ‘England, My England’ and ‘Tickets Please’, texts that demonstrate the difficulty of drawing a clear line of demarcation between human and machine, the machine being oen described as an inherent part of the human. Jeff Wallace analyses two less familiar short stories, ‘e Witch à la Mode’ and ‘Jimmy and the Desperate Woman’, to show how certain fictional motifs identified in Lawrence’s writing (acting in an inexplicable way, leaving without any reason)  Reviews can be read through the lens of Michel Foucault’s concept of ‘technologies of the self’. Wallace argues that Lawrence’s fictional technologies of the self do not have a dehumanizing effect but rather reveal the therapeutic force at the heart of his fiction, which originates ‘from how little we are likely to know about how, and how much, we can materially affect each other’ (p. ). One of the best chapters in the volume is Fiona Becket’s essay on Lawrence’s poetry and ecocriticism. She argues that Lawrence’s idea of consciousness transcends human rationality and is rooted in a kind of ecological awareness, best described by terms such as ‘sap-consciousness’ and ‘dehiscence’, as used in Fantasia of the Unconscious and Psychoanalysis and the Unconscious. Yet Becket warns against a merely pastoral reading of Lawrence’s nature poetry, noting how his poems oen present plants as bound up with mythological and technological connotations, thus destabilizing the boundaries between nature and culture. An evident weakness of the collection is the length of chapters; one wishes that the contributors had been given a greater word limit for their analyses and thus wider scope for historical research. ere are also a few editorial lapses: several lines or phrases from individual chapters are reprinted verbatim in the Introduction (see the first lines on page  and page ). Nevertheless, the collection offers a new perspective on Lawrence’s complex relationship with different forms of technology, and represents a...

Caffeine ingestion improves specific artistic swimming tasks.

The main movements of artistic swimming demand various physical capacities such as flexibility, strength, power, and muscular endurance. The use of ergogenic resources to potentialize performance in this sport, however, is underexplored and deserves investigation. In the present study, we tested whether caffeine ingestion would improve the execution of movements that are essential in a typical figure competition or routines in artistic swimming (i.e., amplitude in the Ariana, height in the Boost and Barracuda, and time maintained in the Stationary Scull techniques). Sixteen experienced female athlete artistic swimmers (17.4±3.2 years of age, 5.6±2.8 years of artistic swimming practice) performed several movements of artistic swimming after having ingested a capsule containing caffeine (5 mg/kg body mass) or cellulose (placebo). Compared to the placebo, caffeine improved latero-lateral amplitude during the Ariana (P=0.035), the height of the Boost and Barracuda (P=0.028 and 0.009), and maintained duration in Stationary Sculling (P=0.012). Bayes factor analysis, however, indicated substantial evidence of a positive effect of caffeine only on the Barracuda and Stationary Scull techniques. These findings indicated that caffeine improved performance during specific artistic swimming movements. Coaches and athletes should consider caffeine ingestion in their supplementation plans.

О стихотворении Осипа Мандельштама «Импрессионизм»

This article focuses on Osip Mandelstam’s poem “Impressionism”. The main objective of this work is to analyze the key motifs and images of the poem and to offer an integral, non-contradictory reading of the poem based on its immediate context as well as on the specific features of Mandelstam’s poetics. Mandelstam treated impressionism with great enthusiasm considering it an innovative phenomenon in art; impressionism in its broad meaning most fully corresponded with his idea of the life-giving capacities of art as reflected in this poem. The article discloses the plot of the gradual immersion in the world of an impressionist painting in Mandelstam’s poem. A verse-by-verse analysis of the text complemented by the parallel reading of the fragments of Mandelstam’s prose, and also with impressionist paintings the poet was familiar with as a backdrop, allows me to define the particularities of Mandelstam’s symphonic and solid perception of plastic arts, including impressionist painting. The article shows how the antinomies of Mandelstam’s creative art affect the poetic text. “Impressionism” is not a reflection of specific motifs of particular paintings but a cocreative effort of resurrecting reality in art that Mandelstam thought to be the art’s prime purpose.

Training Load and Recovery During a Pre-Olympic Season in Professional Rhythmic Gymnasts.

Rhythmic gymnastics requires a high level of complexity and perfection of technical gestures, associated with well-developed physical and artistic capacities. The training-load and recovery profiles of rhythmic gymnasts across a season are unknown. To analyze the training load and recovery of professional rhythmic gymnasts during 1 season. Cohort study. Brazilian National Training Center of Rhythmic Gymnastics and competition facilities. Eight gymnasts from the Brazilian national senior rhythmic gymnastics group. Session rating of perceived exertion (session-RPE) and total quality recovery (TQR) scores were collected daily for 43 weeks. We obtained the session-RPE after each session and TQR score before the first session of the day. Performances during 5 competitions were also recorded. The season was divided into 8 periods. Total weekly internal training load (wITL), training intensity, frequency, duration, recovery, and acute : chronic workload ratio were calculated for analysis. The season mean wITL was 10 381 ± 4894 arbitrary units, mean session-RPE score was 5.0 ± 1.6, and mean TQR score was 12.8 ± 1.3. The gymnasts trained an average of 8.7 ± 2.9 sessions per week, with a mean duration of 219 ± 36 minutes. Each competitive period showed increased wITL compared with the previous period. Training-load variables (wITL and session-RPE) and recovery were inversely correlated. Gymnasts were poorly recovered (TQR < 13) during 50.9% of the season (n = 167 times), especially during competitive weeks. Spikes in load (acute : chronic workload ratio ≥ 1.5) occurred across 18.1% of the season (n = 55 times). The training-load variables and recovery changed throughout a professional rhythmic gymnastics group season, mainly during competitive periods. The correct distribution of training load is critical to ensure that gymnasts are entering competitions in a recovered state.

Rewriting Colonial Heritage in Bristol and Marseille: Contemporary Artworks as Decolonial Interventions

ABSTRACT In recent years, the issue of decolonizing heritage has emerged particularly strongly in cities that were historically at the heart of colonial entanglements. In Europe, sites associated with colonialism and slavery have become points of protest for a range of actors, including artists and the descendants of enslaved persons, and stemmed from British and French colonial histories. This article focuses on two cities, Bristol and Marseille, whose landscapes are imbued with residual traumatic memory, exploring how colonial/slave histories are rewritten in contemporary art practices as decolonial practices manifesting more inclusive commemorations of the past. The article analyzes how dynamic memorial activities in these cities entangle heritage and aesthetics with protest and draw attention to the capacity of artists to challenge existing civic narratives. It goes on to explore the methods used by artists – such as walking in the city, performance, and installation – to engage citizens located at the periphery in conversation and elicit their participation in the rewriting of civic histories.

CG-Art: demystifying the anthropocentric bias of artistic creativity

The following aesthetic discussion examines in a philosophical-scientific way the relationship between computation and artistic creativity. Currently, there is a criticism about the possible artistic creativity that an algorithm could have. Supporting the above, the term computer-generated art (CG-Art) defined by Margaret Boden would seem to have no exponents yet. Moreover, it has been pointed out that, rather than a matter of primitive technological development, CG-Art would have in its very foundations the inability to exist. This, because art is considered as one of the most unique and exclusive human manifestations of our species. On the contrary, I propose that the denial of CG-Art has an anthropocentric bias. For this, I use the recent studies that, from the cognitive sciences, have been carried out on artistic creativity. In this way, I intend to convince the reader that behind the denial of the creative artistic capacity to the machines, a negationist mysticism of the current scientific advances necessarily lies.

Varietal instrumental style as a performance-related phenomenon (case study: saxophone)

Varietal instrumental style as a performance-related phenomenon (case study: saxophone)

Questions for The Psychology of the Artful Mind.

This paper reconstructs the “Arnheim’s puzzle” over the psychology of art. It is argued that the long-established psychological theories of art do not account properly for the observable variability of art, which provide the phenomena of interest whose psychological factors need to be discovered. The general purpose principles of such theories, the ensuing selective sample of art phenomena, and assumption of conventional properties of aesthetic experience make the predictions and the findings of the theories unrepresentative of art. From the discussion of examples drawn from contemporary visual arts and the presentation of the debate on the emergence of the cognitive capacities of art in paleoanthropology, a construct is presented on the specificity of the cognitive capacities of art and its anchoring to perception, which solves the puzzle and has implications for research and teaching psychology of art.

Crítica literaria y marxismo en América Latina – paradojas

Este trabajo pretende discutir la paradoja de tener en América Latina una producción literaria de alta calidad en condiciones económicas y sociales atrasadas y periféricas. El debate comienza con los escritos de Marx y Engels sobre estética literaria donde abordan la relación entre estructura y superestructura, la independencia de fines del arte y las incongruencias entre el desarrollo de la capacidad artística y el de las fuerzas productivas. Posteriormente analiza algunos casos específicos que tienen que ver con esta problemática en América Latina: 1- La plasticidad cultural que encontramos en los escritores de nuestra región a partir del análisis crítico de Ángel Rama y Antonio Candido, la figura de Machado de Assis en Brasil estudiada por Roberto Schwarz, y la figura de Borges en Argentina a través del estudio crítico de Beatriz Sarlo.

Inherited “Ancestors’ Collections” of a Devoted Curator: The Museum of African Heritage in Georgetown, Guyana

This essay traces the development of the Museum of African Heritage (MAH) in Guyana, which opened in 1994. The vision for the Museum, however, emerged over a decade earlier within contexts of decolonial cultural nationalist movements in the circum-Caribbean and African diasporic world at large. Exploring particular histories and contemporary functioning of this museum reveals insights into cultural politics of Guyana’s postcolonial nationalist formations, as well as into ways in which museums navigate their often-incongruous political and cultural roles in societies. Museum Director, Jenny Daly, has since the MAH’s inception been the main force behind this institution. Understanding this Museum’s past and current relationships to cultural-nationalist struggles is instructive for historians of Caribbean politics, Africanist scholars, and museologists more generally. Noting how Daly describes her own professional and personal growth realized through relationships forged with artists, their works, and their various communities of engagement can be illuminating. Daly recalls how art served as an effective medium through which she began to engage meaningfully with aspects of her own ancestral heritages, recognizing a profound correspondence between her involvement with the arts and with local Guyanese iterations of African-derived religiosity. Performing and visual arts provide conceptual and practical bridges between African-inflected expressions of devotion, which are generally marginalized in Guyanese society, and positive self-conceptions among African Guyanese individuals and communities. Through didactic means, art holds potentials to demystify stigmatized culture. The MAH is especially well-situated to harness such educational capacities of art, making African Guyanese histories and cultural expressions more accessible to all.

Retóricas del tiempo, performance y algunas estrategias para una capitalización de lo efímero

En los últimos años, un gran número de instituciones artísticas se esfuerzan en traducir sensibilidades estéticas de tipo temporal en nuevas experiencias culturales. El creciente interés en adaptar los programas expositivos para la presentación tanto de viejos como de nuevos trabajos de performancedemarca esta clara evolución. Inmaterialidad, temporalidad e interacción directa con el público articulan nuevos mecanismos de producción cultural. En este contexto, si en la segunda mitad del siglo XX el arte del performancesurgió como una herramienta subversiva, que trataba de cuestionar el mercado y las instituciones culturales, la absorción y transformación de los performancesen un nuevo producto de consumo cultural generan una serie de problemáticas que afectan su propia esencia. En este artículo, tratamos de analizar ciertos cambios en los valores ontológicos a partir de los que se construye la retórica del performance. La delicada relación entre las manifestaciones de arte efímero y su documentación alimenta un debate sobre la capacidad de los artistas del performancepara defender un discurso anticapitalista. En este sentido, analizamos ciertas estrategias metodológicas basadas en el uso de una temporalidad duracionalen el museo. Este aspecto nos lleva a plantear cierta objetualizacióndel cuerpo del performer, ya que se convierte en un documento vivo. Estos planteamientos están integrados en una estrategia cultural que podríamos definir como una capitalización de lo efímero.

Realism Reflected in Aldo Rossi′s Architecture: Focusing on Rancière′s Discourse on Realism

This article examines realism in architecture based on Aldo Rossi′s architectural works and Jacques Rancière′s discourse on realism. Rancière views realism as an artistic capacity that gives impetus to new art rather than as a specific art movement. In addition, he considers realism not only in terms of this role in the history of art but also in terms of its aim even today to discover new aspects of art among art and non-art, that is everyday objects. This view is comparable to the idea of architecture espoused by Aldo Rossi. Rossi discovers the boundary between architecture and non-architecture in the process of searching for the architectural archetype, the hut (cabin). Furthermore, he proposes architecture that diverges from architectural methods, placing high value on his personal viewpoint and expression in architecture. In spite of the negative evaluation of his later architectural works, Rossi′s architecture can be viewed as realism since they connect architecture with ordinary objects that are beyond the level of architecture. This article elaborates why the discourse on realism in architecture and the prospect of Rossi′s architecture are still valid today.

The modes of music information in a compositional process: a case study

PurposeThe purpose of this paper is to demonstrate an actual compositional process that entails a diversity of music information modes and describe the way these modes contribute to the creative aspirations of a composer.Design/methodology/approachThe music information typology proposed by Rousi, Savolainen and Vakkari is used as a point of departure for defining the different modes of music-related information. First, relevant music information modes are identified from the composer-informant’s verbal description of a compositional process. Then, their proportions and dynamics are examined.FindingsThe findings suggest that the music information typology may be applied within the context of musical composition, that is, all of its five modes of music information could be identified from the composer’s verbal description of the compositional process. However, two additional significant information modes were identified: shaping music as the third mode of enactive representations and genuine iconic representations.Research limitations/implicationsThe purpose of this case study is not to claim that the results regarding the significance of individual music information modes apply to all compositional processes within diverse genres of music.Originality/valueThis study introduces a new mode of music information indicative of the artistic capacity of expressiveness: shaping musical structures as the third mode of enactive representations was the means whereby the composer made musical structures work for himself and hence created performative power in his music.