Nature Of Art Research Articles

Automated Personalized Loudness Control for Multi-Track Recordings

This paper presents a novel approach to automated music mixing, focusing on the optimization of loudness control in multi-track recordings. By taking into consideration the complexity and artistic nature of traditional mixing processes, we introduce a personalized multi-track leveling method using two types of approaches: a customized genetic algorithm and a neural network-based method. Our method tackles common challenges encountered by audio professionals during prolonged mixing sessions, where consistency can decrease as a result of fatigue. Our algorithm serves as a ‘virtual assistant’ to consistently uphold the initial mixing objectives, hence assuring consistent quality throughout the process. In addition, our system automates the repetitive elements of the mixing process, resulting in a substantial reduction in production time. This enables engineers to dedicate their attention to more innovative and intricate jobs. Our experimental framework involves 20 diverse songs and 10 sound engineers possessing a wide range of expertise, offering a useful perspective on the adaptability and effectiveness of our method in real-world scenarios. The results demonstrate the capacity of the algorithms to mimic decision-making, achieving an optimal balance in the mix that resonates with the emotional and technical aspects of music production.

Writing from a colonised English

AbstractThis article argues for the validity of using English to express Philippine identities and realities. It is an exercise in substantiating what my father, Philippine poet Gémino H. Abad (and National Artist for Literature since 2022), has written in so many essays about the writing of our literature in and from and through English because: ‘We have our own way of feeling by which we then use this language called English. So that English is ours. We have colonized it too’ (Abad et al.). It accounts for a writer's possible journey or process, as I grapple with what my father means and consider how it might apply in my own writing, particularly in Salingkit: A 1986 diary, set during the EDSA Revolution, and Letters from Crispin, set during both the Philippine Revolution and the EDSA Revolution. In writing these books in and from and through English, I affirm that English becomes less the language of subjugation, and more the language of liberation.

Dan Kwian clay doll designing from Korat folksong identity for Adding value to the product of cultural tourism.

This research developed the design of Dan Kwian clay doll souvenir products from the identity of Korat Folksong, to add value to product which promote creative cultural tourism. The objectives of the research are 1) study the identity from Korat Folksong to create a small sculpture and creating prototypes from 3D Printing 2) Experimenting with Dan Kwian clay in order to create Dan Kwain clay doll and glazing to develop souvenir products. 3) To design packaging to convey contemporary Korat Folksong which promote cultural tourism. The research found that 1) The identity of Korat Folksong. Men's clothing is popular in wearing loincloths. Wear a round neck, short-sleeved shirt, no color limit, with a loincloth on the belly. Women wear loincloths and wear tight, collarless shirts with short sleeves. It is popular to wear brightly colored cloth. And the dance poses that express the identity of Korat Folksong are 1. Oh Ram Ro pose, 2. Chang Thiam Mae pose, and 3. Jok pose. By taking photo of the original Korat's Folksong performers. Then, draw it into a 3D image with computer program thereafter prototypes were printed with 3D printer reduced sizes to be used in the of making of plaster mold for casting the workpiece. 2) Experimenting with using triangular table to find ratios for all 36 slip formulas. It was found that clay formula 14 was suitable for casting the workpiece quickly and without cracking, with a ratio of 40% Dan Kwian clay, 40% Lampang kaolin clay, and 20% silica, chosen as the slip casting formula for creating the souvenir products and fined at 900 °C, then decorated with colored the glaze derived from the clothing of Korat Folksong performers. By applying glaze 1,100 °C, the workpiece shrinks by 12%. 3) The packaging is designed after the Korat music house, which is a pavilion raised under 4 pillars. When the pieces are packed in a box, it's like a musician singing and dancing in the music theater, and the Korat song is conveyed in the packaging design with fun rhythm content that attract tourists to Nakhon Ratchasima province. The song was composed by Mr. Kampan Nithiworapaiboon. The national artist. It is a souvenir product from Dan Kwian pottery to convey knowledge about the folk art of Korat songs to promote cultural tourism.

The Discourse of “National Art” in Colombia

Through the analysis of three different discourses on “national art” this paper argues that the latter has functioned as an underlying discourse and played a constant and significant role in defining much of artistic production in Colombia and the debates around it. Within this framework I examine the tension between modernity and modernization that comes into view, for example, in the controversy that took place during the last century between the modernist proposals of the Bachué group, which were anti-academic and expressionist, and the attempt at modernization promoted by figures like Marta Traba, with her “updating” campaign, and Eugenio Barney with his theory of transculturation. My hypothesis is that this tension reaches a synthesis in the plastic and conceptual work of Antonio Caro, which addressed the national public. The preceding movements find their synthesis and take a qualitative leap in Caro’s interpretation of the life and work of Manuel Quintín Lame.

First Nations' Supporting Native Arts grants

First Nations' Supporting Native Arts grants

Three pillars of national art – Igor Vieru, Ilia Bogdesco, Mihail Petric – 100 years since their birth

The article is focused on the creation of three plastic artists from the Republic of Moldova, who would have celebrated their centenary this year – Igor Vieru (1923-1988), Ilia Bogdesco (1923-2010), Mihail Petric (1923-2005). Their contribution is a significant one for national art, each one leaving a considerable mark in the field and genre they work. Several aspects and factors of the creative process of each individual artist are mentioned in the article. The thematic topics addressed are described, the components of the plastic language used in the process of creating a work of art, and the types of plastic and technical realization of the works are revealed. In their creation there is a coexistence of traditional and innovative elements in the plastic treatment of works of art. Depending on the historical period, the illustrative-realistic vision in painting (I. Vieru, M. Petric) is replaced by a decorative one, inspired by Romanian plastic folklore and the aesthetic concepts of modern European art (post-impressionism, Fauvism, etc.). In the creation of the graphic artist Ilie Bogdesco, who prefers a „classic” work technique, technical procedures and stylistic features not specific to contemporary national graphics are encountered. He practices calligraphy in book illustration and develops a new author’s technique, based on the text from the national medieval miniatures. Poets in soul and philosophers in thought, the celebrated artists remain trailblazers for the plastic arts in the Republic of Moldova, who have le¡ a unique spiritual trail in their track record.

해녀 표상과 로컬리티

This study, on the premise that the perception of Haenyeo is not a fixed entity but a product that is discovered or changed according to social and political desires, traces the changes in perception by era as reflected in works on the theme of Haenyeo in the modern and contemporary era. The purpose of this study is to examine the meaning of the icon of Haenyeo to Lim Ho, who was called the painter of “Conch and Haenyeo.” In fact, Haenyeo, who had been subject to servile labor until the Joseon Dynasty, overcame adversity under the influence of colonial capitalism in the modern era, leading to the emergence of strong images of Haenyeo that sometimes stimulated maternal love. However, <The Beach>, one of Lim Ho's representative works, presents a lyrical landscape that is different from the existing Haenyeo. Paying attention to this point, the paper attempted to trace the meaning of the iconography of Haenyeo in Lim Ho's painting work. Haenyeo were a topic that Lim Ho had been obsessed with throughout his life, and they were also a manifestation of national sentiment beyond locality. It can be said that the lyrical local scene, which is different from the strong Haenyeo statue seen in <The Beach>, was the result of his consideration of local and national art as a first-generation Western painter in Busan.

Generalities concerning the Capitalization on some Elements of Military Art in the Russian-Ukrainian War

The article addresses some points of view regarding the particularities of military art, as a result of studying the military actions carried out in the Russian-Ukrainian war, expressing a general character and serving to achieve the proposed objectives. The author focused his attention on the examination of the sources, the elucidation of various phenomena and significant moments about military art, in correlation with the mutations of the battlefield. The mentioned results were obtained following the study of the factual material and the formulation of some ideas from the learned lessons, which will later be useful in the national military art. The author approaches the visions of the operations based on the analysis of the phenomena, laws and established principles regarding the conduct of the armed struggle, the existing conceptions of the universal military thought. In conclusion, choosing of the correct course of action will depend on the ratio of forces and means of the conflicting parties, the action plans of one’s own forces and of the adversary, as well as the visionary capabilities of the commanders.

Generalități asupra valorificării unor elemente ale artei militare în războiul ruso-ucrainean

The article addresses some points of view regarding the particularities of military art, as a result of studying the military actions carried out in the Russian-Ukrainian war, expressing a general character and serving to achieve the proposed objectives. The author focused his attention on the examination of the sources, the elucidation of various phenomena and significant moments about military art, in correlation with the mutations of the battlefield. The mentioned results were obtained following the study of the factual material and the formulation of some ideas from the learned lessons, which will later be useful in the national military art. The author approaches the visions of the operations based on the analysis of the phenomena, laws and established principles regarding the conduct of the armed struggle, the existing conceptions of the universal military thought. In conclusion, choosing of the correct course of action will depend on the ratio of forces and means of the conflicting parties, the action plans of one’s own forces and of the adversary, as well as the visionary capabilities of the commanders.

General physical training in Ukrainian national martial arts

The article deals with the issues of improving general physical training in Ukrainian martial arts. An analysis of modern approaches to the general physical training of martial artists was made. The content, methods and means of physical training in the Ukrainian national sports of Horting and Cossack fight are shown. The peculiarities of building the training process of athletes in the annual training cycle are revealed. The relationship between the indicators of the development of physical qualities and the stability of competitive results in Ukrainian national martial arts is analyzed. The choice of test exercises for determining the development of the main physical qualities of athletes in Ukrainian martial arts is substantiated. Differences in the level of development of the physical qualities of athletes are determined, depending on the competitive division in which they specialize. The prospects for the further development of Ukrainian national martial arts in Europe and the world are shown. Ukrainian martial arts compete with Eastern martial arts. Horting and Cossack fight use modern methods of general and special physical training in the training process. Sports science conducts fundamental research of Ukrainian national sports martial arts.

Духовное кольцо Пскова

Pskov is an ancient Russian city known for its unique architecture, rich historical and cultural heritage. It attracts many tourists annually. Pskov architecture is an integral part of Russian culture and art. The paper presents brief overview of the tourist walking route around Pskov. However, this route forms a kind of sacred ring, including the external band of stone walls of the Kroma stone. It is an example of a unique architectural school of military architecture, temple heritage, and fresco painting. Hence, Pskovites preserved sacred traditions from ancient times, and successfully involved the modern architectural decisions into national art development.

Explication of traumatic experience due to russian armed aggression against Ukraine in 2014–2024 in the national street art

The purpose of the article — culturologically comprehend the traumatic experience due to russian armed aggression against Ukraine in 2014–2024 in the national street art.
 The methodology of the research is based on the culturology approach combining study of arts and social and cultural methods of analysis of the representation of the traumatic experience in the national street art. The methodologic tools form the system approach (allowing to consider the street art in the system of interaction of processes and phenomena determined by the russian armed aggression in Ukraine), axiological approach (aimed at determination of the place of influence of urban art on the value universe of the traumatized subject), semasiological approach (allowing to consider the murals and graffiti as a sign system through which the communication of street artists and the society is carried out), typology method (to define the principal subject subgroups of patriotic graffiti and murals), structural and functional (aimed at definition of socially important functions of street art in the context of traumatic events).
 The results. It was found out that street art, namely graffiti and murals reflect, interpret and comprehend individual and collective experience of traumatic events caused by the predatory war of the russian federation. The principal subgroups of the patriotic wall painting were singled out that reflect the events and public spirits due to russian war aggression in Ukraine. The key functions of the national street art in conditions of the traumatic events were determined.
 The scientific novelty. The scientific novelty of the research lies in multivector analysis of the representation of the traumatic experience due to russian armed aggression against Ukraine in 2014–2024 in the national art. The article materials may be used for further manuals, courses, articles in culturology, art studies, history of world culture etc.
 Conclusions. 2014–2024 show the decade signifying the traumatic events caused by the russian predatory war for the Ukrainian society. The trauma both on individual and collective levels is comprehended and visualized by the means of street art. Murals and graffiti as an art introspection of national street artists of the traumatic events found reflection in the patriotic themes (the theme of resistance and struggle of the Ukrainians, the theme of symbols and safeguards, the theme of honoring the military, the Armed Forces of Ukraine, the theme of gratitude to the volunteers, the State Emergency Service, etc., the theme of realities and consequences of the war). The street art in the current trauma plays a series of important functions, in particular, communicative, therapeutic and predictive. Urban art is an art of action, resistance, support and consolidation, the site for discussion of the socially important issues, as well as comprehension of the traumatic events of the national history.

Radioatelier: Czech radio space for acoustic art 2003–2022

In 2003, a new radio programme called Radioatelier was launched as part of the Czech Radio 3 – Vltava broadcast, the national public service art channel. It was aimed at presenting experimental radio forms, something completely unprecedented at that time. With 213 new commissions by December 2022, the programme entered its third decade of existence, having won a number of major radio art awards, while facing threats of impending programme cancellation in 2023. The present article is quite personal, offering generational insights of the producer, who was privileged enough to set goals and scope of the programme in its initial stages and who went on to co-exist with it for the following two decades. It also presents the complete list of sound compositions commissioned by Radioatelier between 2003 and 2022.

Роль уряду П. Скоропадського в питанні розвитку й підтримки театру та кінематографа в Українській Державі 1918 р.

The article analyzes the role of Pavlo Skoropadskyi's government in 1918 in the strategic and artistic issue of the development of art, as part of the state-building process in the Ukrainian State of that time, based on archival sources and the scientific work of modern scientists. The research methodology is based on the fundamental principles of historical research: historicism, systematicity, scientificity, objectivity in the selection of facts and documents. The scientific novelty of the article lies in the fact that, for the first time, with the help of archival sources, specific steps in the activities of the Cabinet of Ministers in 1918 regarding the support and development of art, namely theater and cinematography, as one of the components of culture, were revealed, thanks to both financial support and the awareness of representatives of the government of Pavlo Skoropadsky of the national-patriotic orientation regarding the importance of the development of national art as part of the state-building process. Conclusions. In the conditions of the exhausting First World War and the economic devastation in the state, the government of Pavlo Skoropadskyi attached great importance to the development of art, in particular theater and cinematography. The government considered the sphere of theater not only as an important form of cultural expression, but also as one of the directions of state-building in the development of the national interests of the Ukrainian State, in order to ensure the spread of the Ukrainian language and culture among the population of that time. Cinematography in 1918 was at an early stage of development. However, even then the government understood its potential and recognized the importance of cinema not only as an innovative invention, but as a means of mass information and state propaganda to influence the population. At the state level, mechanisms were developed to support the cinematographic industry and the Ukrainian theater of that time, which were constantly financed by Pavlo Skoropadskyi's Council of Ministers, as evidenced by archival documents. The Cabinet of Ministers of that time was well aware that in order to build a full-fledged state, support in the field of national culture is necessary, and that this is one of the elements of the socio-cultural values ​​of a person, which contributes to the formation of the unity of the nation and lays the foundation of an educated and tolerant society in the future.

Contested Spaces: an interdisciplinary collaboration

ABSTRACT The world in 2020 presented Australia with a world on fire, in lock down, and in environmental ruin, with potentially unprecedented social dislocation, homelessness, unemployment and mental health issues. Four artists reaction was to collaborate in an attempt to make sense of the complex COVID-19 context that was unfolding in front of them. Their interdisciplinary collaboration resulted in the multimedia artwork: Contested Spaces. Two iterations of the artwork (2020 and 2021) were exhibited as the artists navigated the unfolding spaces inhabited as they learnt to live and cope under the strictures of COVID-19. The 2021 iteration, was part of a national arts and mental health focus consisting of exhibitions, talks and workshops at the National Art School in Sydney and ECU Galleries in Perth. Through Contested Spaces the artists explored the complexity of unique circumstances brought about by the pandemic. Working collaboratively across disciplinary boundaries, created a space in which alternate understandings manifested as a consequence of the situation. This paper argues that the ongoing narrative of COVID-19 needs to be examined and scrutinized, in reconsidering our constant perpetual present, one that contests ideas and art making processes, proffering interdisciplinarity methods as a productive means for critiquing everyday pandemic complexity.

The Origins of the Abbey: 1947–1950

One of the new models for thinking the production of art in a new decolonialised art history might be the artist colony. Certainly, in Australia, one of the revolutions Aboriginal art has brought about lies in the way it takes place in a series of artist colonies: self-identifying and -regulating cultural centres that have little or nothing to do with any imagined national art. Australian artists have been involved with any number of artist colonies throughout the nineteenth and twentieth centuries, not just in Australia but around the world. This article will address just one: the Abbey Art Centre in New Barnet, just outside of London. Owned by gallerist and ethnographic art collector William Ohly, the complex of studios operated from the late 1940s until the late 1950s as the base for a generation of Australian artists and art historians, who enjoyed an entrée into the English art scene offered to no others either before or after. In particular, we examine the artists Robert Klippel, James Gleeson and Mary Webb, who stayed between 1947 and 1949, and the art historian Bernard Smith, who stayed between 1949 and 1950.

FROM THE HISTORY OF THE FORMATION OF THE ART OF MUSIC

The development and improvement of national music art and musical instruments in the world is one of the leading factors in increasing the national prestige of countriesat the international level. A clear example of this is the fact that UNESCO's Department of Culture conducts regular activities to study the ancient national music art and musical instruments of the peoples of the world, as well as to create modern types.The article contains information about the formation of musical art.

Piano cycles of Italian composers of the late 19th – first half of the 20th century: on the problem of programming.

The object of study in this article is the piano work of Italian composers of the late 19th – first half of the 20th centuries. The subject is programming in instrumental music, represented by the genre of the piano cycle. Based on the definition of programming and the classification of types, developed in the works of domestic musicologists M. Aranovsky, L. Kazantseva, Yu. Khokhlova, the author reveals the features of its implementation in the cycles of famous Italian composers F. Busoni, J. Malipiero, A. Casella, M. Castelnuovo-Tedesco, created during the historical period under study. Particular attention is paid to considering the issue of continuing the tradition of embodying programming in cycles, established by romantic composers, as well as identifying national features characteristic of Italian art as a whole. The article uses an integrated approach, including systemic-historical and comparative methods of analysis. The author also turned to the method of musical theoretical analysis. The novelty of the research lies in the development of one of the important and relevant areas of musicology associated with the synthesis of arts, within the framework of solving a specific problem: the implementation of various types of programming. The author’s special contribution to the development of this topic is the introduction into scientific circulation of new works of Italian masters that have not previously been studied, the consideration, using their example, of various types of programming in close connection with the tradition that has developed in European art, and the identification of ways to update it. The most important feature is the integrity of the cycles, which is formed at the emotional, figurative, stylistic, compositional, and tonal levels. A conclusion is drawn about the originality of the piano cycles of Italian composers, which is manifested in close connection with national art.

Художественное проектирование в Советской Татарии на примере «Группы № 17»

The article is devoted to a little-studied page of the late Soviet art of Tatarstan: the activity of design artists of the 1970s-1990s — “Group No. 17” (E. Golubtsov, V. Nesterenko, A. Leukhin, O. Boyko, R. Safiullin, V. Vyaznikov, and A. Yakupov), whose works represented the characteristic features of the technical aesthetics of the Senezh studio. The purpose of the article is to identify the context and facts related to the creative activity of the participants of this association, outline their range of interests, and study their projects. The first part of the article analyses the activities of the Senezh studio and its influence on the formation of young artists, those of Tatarstan in particular. The second part of the article presents the history of the emergence of the “Group No. 17” creative association in Kazan, its composition, forms and principles of operation. The third part of the article is devoted to the creative heritage of the design artists. For the first time, an attempt is made to generalize and systematize both realized and unrealized projects of the association, some of which are characterized. The author of the article investigates the main approaches and the nature of the Tatarstan design artists’ creative activity and highlights the originality and value of the group’s design projects, which brought the world-class high aesthetics to the masses.

A history of arts and health in South Australia: Policy and practice

This article traces the history of arts and health in South Australia, using an interview-based methodology to detail how grassroots practice developed into formal arts and health policy. The project interviewed 47 arts and health stakeholders, including former state government ministers, artists and health professionals. South Australia has a long history of arts and health work. However, interviewees describe a lack of momentum for the field since the endorsement of the 2013 National Arts and Health Framework, largely because it did not contain binding commitments which left the field vulnerable to changes associated with political leadership. South Australia thus represents both a case study of how grassroots support can maximize political interest in arts and health to create formal policy as well as a warning on the challenges that occur when this interest wanes.