Visual Art Forms Research Articles

Gunnison Sage-Grouse and Mapping Pi

Enriching BioScience’s role as a forum for integrating the life sciences, Arts in Science provides an occasional venue for poems, visual art, and other forms of artistic expression that explore and enliven our understanding of life. Through the contributions in this section, we hope to share with our readers the passion for nature that science inspires. These paintings are from Isa Catto (https://isacatto.com), an artist based near Aspen, Colorado, in the United States. Her description of “Gunnison Sage-Grouse” and “Mapping Pi” are below. A 2019 New York Times article on global avian decline inspired me to paint a series of endangered bird portraits to raise awareness of vulnerable birds. The Gunnison sage-grouse is often confused with the greater sage-grouse, but this bird has been accepted as its own species due to its smaller stature and restricted range. It resides only in Western Colorado and Utah. Habitat encroachment has diminished their numbers to around 4600.

Influence of figure information on attention distribution in Chinese landscape painting

Chinese landscape painting is a complex form of visual art. More researchers pay more attention to the creation process and expressed intention of landscape painting. However, the appreciation of works of visual art is often related to cognitive processing, and it is influenced by the content of the works. This study hypothesized that the information of the figure in landscape paintings could guide the allocation of attention and affect cognitive processing. To test this hypothesis, the vertical landscape paintings of the Song and Ming Dynasties were used as experimental materials in the experiment, and the eye-movement technology was applied to record and compare the differences of the eye-movement indexes of landscape paintings with and without figures. The results showed that the dwell time of landscape painting with figure was significantly longer than that of landscape painting without figure, and the dwell time of the interest area of the figure was significantly longer than that of the interest area without figure. However, the first three fixation duration of the interest area with figures is significantly less than that of the interest area without figure, and there was no difference in the saccade counts and the distribution of fixation points between different landscape paintings. It suggested that the figure in the landscape painting can attract peoples’ attention, but it does not have attention priority. Meanwhile, peoples tend to holistic processing when they viewing the vertical landscape paintings, and it is not influenced by the information of figure.

애니메이션 <벼랑 위의 포뇨>에 나타난 상징과 상상

The purpose of this thesis is to examine the narrative of images and the form of visual art in Hayao Miyazaki's “Ponyo on the Cliff” from the viewpoint of affect. For the multilateral interpretation of the worldview implied by the text, an attempt to explore the movement and shape difference of objects from the aspect of affect is necessary. The approach through the 'group theory' that generalizes the connection between these affective imagination and semantic motifs expands the meaning recognition of growth stories. As a result of examining the transformation of geometric shapes in animation pictures as a symmetrical group and exploring the correspondence between narrative connection and narrative as a permutation group, the subject matter became clearer and richer. This article has the significance of considering the narration and morphological symbols of animation in terms of the convergence of art and learning, and presenting a methodology to analyze the morphological properties as affect as a group theory.

Replication of Characteristic Visual Motifs of Indian Rural Art Forms using a Generative Adversarial Network

The usage of Machine Learning in analyzing and creating art has accelerated substantially over the last couple of years, being used to mass produce novel pieces on a scale that artists would never have imagined feasible previously. This paper will focus on the study of an important Computer Vision tool- Generative Adversarial Networks (GANs) and whether or not it can learn and replicate the visually distinctive, defining characteristics of different forms of visual art, specifically rural Indian art forms. Indian rural art is a rich, underexplored area of visual media that consists of highly stylized, distinctive characteristics. We trained GANs to learn, abstract, and reproduce the visual motifs of five different forms of Indian rural art to understand whether GANs can learn these defining artistic attributes unsupervised and further our understanding of the differences between human intuition and machine perception of art. The textural and feature extraction ability will be analyzed through human perception as well as Fréchet Inception Distance to evaluate the quality of the generated images. This will benefit artists by allowing them to create artworks in unexplored genres, as well as benefit commercial industries, such as home décor and fashion, through the creation of different products in various art forms in an efficient manner.

IS ARCHITECTURE A FORM OF ART?

Most definitions describe architecture as “A form of Art.” As Dan Rice, an American entertainer said ‘There are three forms of visual art: Painting the art to look at; Sculpture the art you can walk around, and Architecture the art you can walk through’, we’ll be dealing with the 3rd form. Most research papers suggest art as the generator of architecture, this paper unfolds to answer the complex question whether architecture is a form of art or not. It goes about dealing with basic questions like what is architecture and what is art. Then portrays the relationship between art and architecture; their similarities and separation. Elements used to create a structure like mathematics, physics, creativity, etc are stated. A question “Does the creative process outweigh the other elements?” is raised and answered. A study showing how most successful architects are artists is put forth giving examples from history. Finally, a conclusion is made that architecture indeed is a form of art, art being its generator and backbone.

Drawn to the Word: The Bible and Graphic Design by Amanda Dillon

Reviewed by: Drawn to the Word: The Bible and Graphic Design by Amanda Dillon Mark Jonah amanda dillon, Drawn to the Word: The Bible and Graphic Design (Bible and Its Reception 4; Atlanta: SBL Press, 2021). Pp. xv + 263. Paper $49. As the fourth publication in the SBL series The Bible and Its Reception, Drawn to the Word provides an introduction, rationale, and case studies to explain how meaning is both [End Page 156] crafted and perceived in contemporary graphic design. Generally, Dillon is seeking to contribute to the academic community’s debate on the efficacy and applicability of visual art, specifically graphic design, and biblical reception in the arena of biblical studies. Specifically, the challenge D. accepts is to help the reader, who may not be familiar with the means and modes of artistry, understand how art communicates. Precisely limiting the study to graphic design is key in her specific pursuit. “One of the primary impulses of graphic design that distinguishes it from other visual art forms is its communicative function over personal self-expressive concerns. Graphic design is alway explicitly oriented toward the viewer with the intention and desire to impart meaning” (p. 3). The question of how content is communicated with graphic design and how the meaning is comprehended by the viewer is modeled in the first chapter with a snapshot of the method D. introduces and explains in more detail throughout the book. The concern addressed is the subjective nature of art, which seemingly makes it an imprecise area for a definitive, interpretive methodology and is the reason why it is a concern in the biblical studies community. Additionally, relying on the receptivity of the intended viewer for meaning appears tenuous. The second and third chapters establish the placement of this graphic design analysis in the areas of hermeneutics and semiotics and provide the core rationale of scholarly engagement. D. links the study of biblical reception history within hermeneutics to the meaning-making capabilities explored and explained by semiotics. In chap. 2, D. highlights the difficulty of biblical reception history gaining academic acceptance among the longstanding proponents of the historical-critical method. The rationale D. provides details the challenges of postmodernism and globalization to the field of visual studies in the overarching change from the form of written word to the form of image. She traces the philosophic foundations of reception study beginning with textual considerations and then demonstrating how visual studies carry on in a similar direction. An overview of commentaries, dictionaries, and online publications, points to growth, study, and acceptance of biblical reception in the academic arena. Chapter 3 presents semiotics as the methodological approach for visual study in reception of the Bible. Drawing from Gunther Kress and Theo van Leeuwen (Reading Images: The Grammar of Visual Design [New York: Routledge, 2006]), D. includes a view of social semiotics. Connecting semiotics and linguistics, D. continues to highlight the paths of studying meaning. D. shows how the terms of semiotics are used to explain graphic design’s creation, manufacture, and meaning. That images express meaning is not argued, but a way to explain how they express meaning is considered. The methodology D. proposes is based on understanding the relationship between language and other forms of communication. D. explains her application of the terms “ideational,” “interpersonal,” and “textual” to graphic design and how they communicate. “Semiotic resource” defined as “the actions, materials and artifacts we use for communicative purposes” (p. 66), completes the methodology of meaning that D. then applies as an interpretive method to two selected graphic designs. The meaning and significance of the books containing the reviewed images (chap. 4) are examined because, in her opinion, these books have been overlooked in reception history. “[T]he lectionary is not only a site and conduit for the reception of the Bible but a semiotic resource in itself” (p. 83). Specifically, she uses images from the pew edition of Worship published by Evangelical Lutheran Worship and from the Sunday Missal of the Roman Catholic Church. D. places a particular emphasis on the similarity of value that a lectionary and a missal share with the Bible. Considering the commensurate significance [End Page 157] she suggests between these...

ЗРИТЕЛЬСКОЕ ВОСПРИЯТИЕ ХУДОЖЕСТВЕННОГО ОБРАЗА: ОТ СОЗНАТЕЛЬНОГО К БЕССОЗНАТЕЛЬНОМУ И ОБРАТНО

The author relies on psychological and philosophical concepts underlying the understanding and interpretation of fine art. This article is dedicated to a multifaceted analysis based on the psychological studies of the visual arts developed by renowned authorities such as Dui Tran Hoang Le, Paul Schrader, Julie C. Garlen, and Jennifer A. Sandlin. Based on these concepts, any work of fine art, be it a painting, a cartoon, or a stylized drawing, is considered a magic mirror that allows the viewer to look at the object from two different positions — internal and external, while also looking into themself. According to these psychological theories, a work of fine art is, in many ways, like such a mirror — a window into the inner world. Animation is the sharpest window, giving the most prominent and clear image, and the author gives insight into the historical background of such a unique and brilliant visual art form that has combined art with cinema for many generations. There is also emphasis placed on animation artists and aspiring animation-style artists whose practices are well-aligned with this skill that allows an art piece to enable deep reflection that allows an individual to look inward and then outward, and vice versa. These practitioners also utilize such a skill to convey the emotional background inherent in an art subject, which largely determines the perception of the creation by the viewer.

‘Senior Citizen’: Ironic Depiction of West Africa’s Herder-Famer Crisis in a Conceptual Ceramics Exposition

This paper proffers an art-speech of the farmer-herder crisis in Nigeria from the standpoint of the conceptual ceramic’s exposition. Using the figurative construct of ‘senior citizen’ and the visual art form of conceptual ceramics, this paper creates a sort of metaphorized analogy that depicts an allegory of Nigeria’s perennial farmer-herder crisis scenario, where the wellbeing of the citizenry appears to have been subordinated to those of the herders and their herds. The uncommon ceramic art approach that negates traditional production methods has been explored in this study to interrogate the outlined concerns. This process includes the pinching of plastic clay, placing it in the palm, rolling the clay with both palms into a stick-like shape, placing the stick at the foot of the fingers, tightly compressing the clay by closing the fists, and finally releasing the clay to reveal the product. This style that has been termed fragmented clay palm press terracotta on canvas proved effective and fluid enough to achieve the essence of this study. The intriguing situation of Nigeria’s socio-political metaphor vis-à-vis the prevailing farmer-herder conundrum is explored in an attempt to foreground the existential irony that this awkward situation portends.

Geographical Indication and Traditional Wisdom: A Study with Special Reference to Chamba Rumal in Himachal Pradesh

Geographical Indications and traditional knowledge associated with Chamba rumal in the state of Himachal Pradesh are the current research subjects. A visual art form characterized by characteristic embroidery, Chamba Rumal arose and flourished in Chamba, Himachal Pradesh, during the 17th and 18th centuries and is being practiced today. Rumal is a Persian name that refers to a square piece of cloth that is used as a handkerchief in traditional Persian culture. Paintings influence the fundamental structure and themes of Chamba Rumal; there is a prevalence of God depictions, notably of Vishnu in his numerous incarnations, which is a theme that runs throughout the collection of paintings. Dorukha-tanka embroidery is an extremely rare and one-of-a-kind stitch that has never been seen before in the history of Indian embroidery. The Dorukha-tanka stitch is a double satin stitch that is employed in Chamba Rumal embroidery. The present research attempted to determine the degree of public awareness of traditional knowledge connected to GI Chamba rumal in the state of HP. This study also sheds light on the historical context of Chamba rumal and the many topics and traditional knowledge associated with Chamba rumal, among other things.

The drivers of reflection in arts-based coaching

Purpose: The aim of this study was to explore the use of art in coaching and to determine how art contributes to the ability of clients/coaches to reflect critically.Design and methodology: This qualitative study used in-depth interviews with coaches who make regular use of a visual art form as a coaching tool. The sample focused on the diversity of coaches and the coaching context. A phenomenological approach was used as the focus was to gather the experiences of the participating coaches on their practices of art in coaching.Findings/results: The views of participant coaches on outcomes have been gathered, which includes better insight (aha-moments), a stronger focus on goals, willingness to use their creativity and changes in perception. Five key drivers of critical reflection have been identified, and it was found that the experience of creating art, as opposed to viewing art, produces these results more often.Practical implications: The findings of this research provide coaches with an additional mechanism to foster critical reflection with their clients, the educators of coaches with food for thought when developing coaching curricular.Originality/value: This study contributes empirical evidence to the body of knowledge on reflective practices, transformation and coaching as well as key drivers that enhance critical reflection in clients.Limitations of the study: Information was gathered from coaches only. For ethical reasons, the coaches could not reveal the identity of their clients. So feedback through the lens of the clients was not gathered.

Cinema and the Art of Anachronism

This study argues that the way visual art forms migrate and transform from one media to another over time can be traced through their varied relationships to temporality. By introducing a model of “artistic anachronism,” it is possible to better understand the way these transformations take place. After establishing some of the theoretical characteristics of anachronism, the study turns to the films of the French filmmaker Robert Bresson, and the way he directly references painting through his films. Such an examination provides a model for future studies that use anachronism as a way of better understanding the way migrations take place between visual media both old and new.

Visual Music: K-Pop’s ‘CAWMAN’ Effect on a Transnational Music Subculture

South Korean popular music or K-Pop has risen phenomenally in popular music industries around the globe in little under three decades through its unique production method of embracing a combination of both musical and visual artforms. Having gained mass international popularity, K-Pop has established the characteristics of a subculture. The visual emphasis K-Pop producers place in their productions lays particularly in the foreground to its transnational attraction. Primarily in the form of music videos, narratives and aesthetics becoming communicable beyond language mediation. Using a semiotic theoretical analysis, this paper critically analyses the creation, sustainment and effects of ‘visual music’ as a foregrounding component of this transnational music subculture. To do so, the focus lies on K-Pop production company SM Entertainment’s recently established CAWMAN genre, a method of producing music media based on Cartoon, Animation, Webtoon, Motion Graphics, Avatar and Novel. With K-Pop’s central portal of communication and K-Popular practices being the Internet, this paper explores the effects and critical roles of this new genre of visual music in bringing people together across the globe.

SUBIKA ART: AN EARLY VISUAL ART FORM OF MANIPUR

There are six surviving manuscripts under the category of Subika namely Subika, Subika Achouba, Subika Laishaba, Subika Choudit, Subika Cheithil, and Thengrakhel Subika. For this paper the manuscript “Subika Laishaba'' has been discussed. Illustration of Subika Laishaba is the manuscript painting among the earliest surviving visual arts forms of Manipur. Though the advent of Subika Laishaba paintings has lately acquired from various individual collections, the painting possesses an interesting area of studying its visual elements and cultural values of Meitei community. The painting of Subika Laisaba is a composition of cultural motifs made by pre-existing features and other influences stimulated from their cultural worldviews. Such cultural ethics of scriber makes them to create a unique style seen as indication of establishing a thought of school in which cultural and regional features are highlighted. Subika Laishaba manuscripts represent the direct and authentic continuation of the tradition of Meitei cultural life projected through visual images. Though there is no particular founder mentioned in the royal chronicle/history known as Cheitharol Kumbaba, there may be a possibility that the art form may have existed when the writing tradition was introduced in the state. This paper is an attempt to study its purposes and visual language portrayed in the Subika Laishaba manuscripts to understand its school in the realm of visual art. This study of visual language may be able to work without judgment and self-criticism.

THE COMPARISON OF TRADITIONAL MEDIA AND SOCIAL MEDIA IN SPORT NEWS

The purpose of this article is both to create a very contemporary understanding of traditional media and social media regarding sport news and to provide readers with a broader context. All over the world for years people used traditional media which represents a form of communication employing vocal, verbal, musical and visual folk art forms, transmitted to a society or group of societies from one generation to another. Nowadays we can find thousands of resources about social media that are spread live news all over the world. Especially the sport news in social media make easier to get the results immediately after the game or to watch from home all the results. With this article, we will touch on the role of both, traditional media and social media and comparing them in sports news. For the best presentation of the credible news each sport journalist needs to get the exact facts, videos and photos. Some sports needed to promotion and presentation depending on the media outlets which is interested in it. The sport fans, especially the huge games audience are the customers of both media which also try to save its ranking all over the world.

Editor’s Note

Editor’s Note

“Beyond Their Actual Limits”: Immersion, Interactivity, and the Virtual Sublime in Burke and Video Games

This article examines the experience of the sublime engendered by video games and the function of immersion and interactivity in producing this effect. A close inspection of the history of the sublime as an aesthetic principle and related cultural practices reveals that the elements of immersion, interactivity, and virtuality were already integral to Burke’s seminal conceptualization, as well as in architecture and visual media, before the emergence of digital media. The techniques and technologies of the immersive sublime deployed by preexisting spatial and visual art forms are inherited, revised, and enhanced in video games, as demonstrated by the analysis of the undersea exploration game ABZÛ. In this sense, the video game simultaneously marks the continuation of and new developments in the interlinked histories of the sublime and technology.

Time, Media, and Visuality in Post-Revolutionary France

Time, Media, and Visuality in Post-Revolutionary France

Installations and sacred spaces: A pentecostal engagement with visual liturgical art

ABSTRACT This article explores the role visual liturgical art plays in fostering a sense of sacred space in Pentecostal worshiping communities. Two common ways visual liturgical art is utilized in the context of worship is through prophetic art and church-sponsored gallery openings. Both of these measures help cultivate communal, sacred spaces in worship, while the former is practiced regularly in Pentecostal churches, and the latter is practiced more broadly amidst myriad contemporary denominational or free churches. As a third option, the majority of this article explores the potential of utilizing art installations to create sacred spaces, and how Pentecostals can uniquely utilize this form of visual liturgical art.

Plurality the types of art in contemporary art: specifics of media art

The purpose of the article is to study the types of artistic creativity in modern fine arts, taking into account the specifics of media arts. The methodology is the cultural-semiotic analysis of the forms of manifestation of visualization of modern art culture. The application of a systematic approach allowed us to study semiotic systems that contribute to the comprehensive disclosure of the problem of the semantics of modern forms of visualization. The scientific novelty of the work is to understand the specifics of the new media arts, taking into account their interactivity, network communication, and virtuality. Conclusions. The interaction of visual art forms and interactive technologies is a combination of artistic manifestations with visualization and programming, so, unlike the processes of classical education, this art practice, in addition to the artist, requires group work of specialists in various fields. Artists working in new forms of visual art play the role of "director" of the project, embodying their own artistic ideas in collaboration with other participants. The actualization of the art of new media is manifested primarily through the expansion of artistic creativity and the creation of multimedia projects that combine VR, AR technology, animation, and traditional shaping and drawing. Therefore, modern visual arts are becoming a powerful tool and communicative tool of modern culture. Today, Ukrainian artists are actively using visual images as central elements of visual culture. Since modern cultural communication significantly influences the formation, providing the composition and translation of cultural values, with the help of visual images artists are able to more accurately express the idea of the work, to make it understandable to the maximum number of viewers.

The Matrix:

Film as a visual art form can be understandably perused as a form of “visual literature” where, under proper scrutiny, literary theories and critical concepts may be found intervening significantly. Stretching the range of “cine-literacy,” an approach to interpret films from a literary/theoretical perspective, suggests simultaneously the pervasive reach and the inter-disciplinary scope of literature. This article aims at addressing the aspects of the 1999 movie The Matrix that enable it as a congenial site for Mikhail Bakhtin’s concept of dialogism to operate. There is hardly any linguistic phenomenon, verbal or non-verbal, that can negate its affiliations with the Bakhtinian theory of dialogism which affords a disentanglement of the dialogic properties operative in the phenomenon and thus attempts to excavate its philosophical roots as well as the diversity of implications. The Matrix, as a form of communicative event captured in celluloid that attempts to convey some messages to the audience, corroborates the idea further and the film indeed illustrates the ways dialogism and other Bakhtinian precepts are imbricated in the cinematized fiction. What an enumeration of Bakhtinian concepts in the movie allows is an articulation of the movie’s rich diversity of meaning and implications. The film has been approached from Bakhtin’s theoretical perspective with a view to addressing the adaptability of the filmed fiction with the central tenets of his theory of dialogism. Furthermore, a dialogical perspective of the film unearths its underlying mosaic of philosophical imbrications that ultimately endorses its intrinsic quality of multiplicity of meaning.