Original Artist Research Articles

New Judgements on the Artistry of Andreas: The Case of Christ III

Abstract The Old English poem Andreas has long been considered to be indebted both to the signed works of Cynewulf and to Beowulf. Recent studies have demonstrated Andreas’s debt to a number of other ‘Cynewulfian’ poems. This paper argues that the poet of Andreas likewise borrowed from Christ III (an earlier poem concerned with the Second Coming of Christ at Doomsday). The influence of the latter on the former is apparent on the basis of a large number of unique or almost unique verbal parallels listed in an appendix to this paper. The later poet does not just parrot his hypothesised source, but originally and artistically recasts his borrowings with various kinds of embellishment. The influence of Christ III on Andreas is also apparent on a thematic level. This paper demonstrates that the Andreas-poet was attracted to the twin themes of ignorance and judgement in Christ III, creating a miniature Doomsday narrative out of the conversion of the Mermedonians. In doing so, the Andreas-poet reveals himself as a sophisticated consumer of earlier poetry and an original artist, turning his Latin prose source into a novel, theologically imaginative narrative.

Creative Activity of V. Hegamyan in the Context of the Development of the Odesa School of Painting

The purpose of the work is to investigate the key events of the creative life and activity of the Odesa artist of Armenian origin V. Hegamyan, whose creative output left a noticeable mark in the development of the Odesa school of painting in the second half of the 20th – beginning of the 21st centuries. The research methodology is based on the application of methods of analysis, synthesis, art history, historical-chronological approach, which made it possible to find out the substantiated results of the research. The scientific novelty of the work consists in deepening and systematising the study of the work of the famous Ukrainian artist V. Hegamyan in the context of the development of the Odesa glass painting. Conclusions. The work determined that starting from the 1960s, due to the relocation to Odesa, a new stage began in V. Hegamyan’s creative period, which was determined by the new cultural and artistic environment and the creative searches carried out by the artists of that time. The artistic dominants of V. Hegamyan's works were determined by the artist's inherent monumentalism, traditional colour scheme and characteristic plot, composition, and imagery. Over the decades, having absorbed the main trends of the Odesa school of painting, V. Hegamyan formed his own artistic style in art, which consisted of a combination of graphic, pictorial, and monumental techniques. Being at the intersection of Armenian and Ukrainian cultures, V. Hegamyan's works clearly trace the appeal to ethnic, archaic motifs, symbolism, which created a special mythopoetics of his works, imposing double or even triple meanings on them. At the same time, V. Hegamyan's creative life was closely intertwined with his teaching activities; he was the founder of the graphics department at the Odesa pedagogical institute. He brought up a whole pleiad of artists who later became famous not only in Odesa, but also in Ukraine: such famous artists as V. Volkov, V. Zakharchenko, S. Lykov, O. Nedoshytko, Ye. Rakhmanin, V. Riabchenko, O. Roitburd, A. Furlet and others. Thanks to his creative and pedagogical activity, V. Hegamyan wrote a bright page in modern Ukrainian fine art as an original artist who formed a unique system of artistic imagery. Keywords: V. Hegamyan, Odesa school of painting, nonconformism, stylistic trends, artistic and cultural life, intersection of cultures, regional specificity, art, artist's creativity.

Beatrice Cenci’s Ghost

Mattias Pirholt, “Beatrice Cenci’s Ghost: Ekphrasis, Spectrality, and the Art of Copying in Nathaniel Hawthorne’s The Marble Faun” (pp. 211–233) This article investigates the spectrality of ekphrases and art reproductions, the haunting presence of the original work’s aura and the copyist’s self-sacrifice. Focusing on the ekphrastic description of the Baroque painting Beatrice Cenci (1599), earlier attributed to Guido Reni, in Nathaniel Hawthorne’s The Marble Faun (1860), the article argues that the ekphrastic representation of the copy of the painting embodies the dialectic of enargeia and ekplexis, that is, of the vivifying presence-making of the ekphrasis and its sublime and disturbing absence. In The Marble Faun, the aura of Guido’s original painting haunts the copy, made by one of the romance’s female protagonists, Hilda, whose art is both creative and imitative. The copy retains the aura of the original but only in the shape of a haunting presence of absence, a ghost, which perpetuates rather than eliminates tradition. Thus, as a paradoxically original imitation of Guido’s masterpiece, Hilda’s uniquely beautiful copy, whose most salient feature is that is it visibly different from the original, creates an Emersonian unity of beauty and usefulness. Furthermore, the copy is haunted by the copyist’s necessary sacrifice of her own individual talent as an artist. The copyist must submit to the genius of the original artist in order to perpetuate the original work’s aura, which produces tradition by means of copying and which exists only thanks to the copyist’s self-sacrifice.

In defence of God making stuff up: a reply to Ward

AbstractThomas Ward explicates and defends a version of divine exemplarism called Containment Exemplarism to make good on the claim that God is a ‘totally original artist’. According to Containment Exemplarism, (i) God ex nihilo creates according to divine ideas, (ii) divine ideas are about an aspect or part of God, and (iii) God has the ideas he has by knowing himself. Containment Exemplarism, we are told, secures the rationality and creativity of the divine creative act. I argue, first, that Ward's God is not a totally original artist since, on Containment Exemplarism, God does not act creatively in creating. Theistic Activism, the view that God makes up the ideas he has, can secure the creativity of the divine creative act. I argue, second, that Ward's argument against the rationality of God making stuff up fails. Thus, there is one version of divine exemplarism that satisfies key desiderata for divine creation.

In Another’s Hand

This project is comprised of a suite of pen and graphite drawings derived from artworks that were included in the exhibition An Art Commentary on Lynching, which was held from February 15–March 2, 1935, at the Arthur U. Newton Galleries, New York. The exhibition was organized by Walter White, then secretary of the NAACP. Given my own work on the history of lynching in the United States, I was curious to learn more about how these artists’ work was received at the time.In creating a series of drawings inspired by the content of this 1935 exhibition, which is documented in the Archives’ Jacques Seligmann & Co. Records, I made the decision to remove all the lynching victims and the ropes from the original images. I also removed the individuals in the lynch mobs as a way of drawing our attention to the natural and built world as rendered through the original artist’s hand. In refusing to re-draw, or re-represent, the lynching victims or mobs, I openly explore the physical process of creating images that must have been traumatic for the artists who produced them, particularly given the controversy surrounding the exhibition and the historical moment in which they were living. This project also meditates on our own time, when historical erasures and fake news threaten our very democracy.

Scientific Investigation of Contemporary Pastel Painting by Roberto Sebastian Matta: Characterization of Original Materials through Multispectral Imaging and Spectroscopic Techniques

The conservation of contemporary art often offers unique occasions to study complex multi-material artworks and understand their creative process and esteem degradation distress. The recent diagnostic campaign on the surrealist artwork Perché le vittime vincano (For the victims to win) (1974–75) by the artist Roberto Sebastian Matta allowed us to characterize the original painting materials (pastels on spolvero paper), never investigated and completely unknown, in order to support the imminent restoration. Due to the great dimensions of the artwork and its conservative issues, non-invasive multispectral imaging (HMI) analyses were done to investigate the whole painted surface, mapping and differentiating original materials and possible degradation patterns. Imaging data supported analytical characterization analyses run through elemental (portable X-ray fluorescence spectroscopy and scanning electron microscopy coupled with energy-dispersive spectroscopy) and molecular spectroscopy (Fourier transform infrared and portable µ-Raman spectroscopy) to identify the original artist’s materials and to support the restoration operations. The analysis revealed that the painting materials used by Matta are pastels characterized by modern pigments and dyes, such as Cu-phthalocyanines, chrome orange, titanium and zinc whites, compacted with kaolin without any organic binder or with a possible minuscule amount of gum.

THE TOPOS OF KHMELNYTSKY IN OLGA SALYPA’S NOVEL «THE HOUSE ON APTEKARSKA»

Literature of the beginning of the 21st century. is marked by dynamic processes of expansion of trends in the emergence of urbanism. The works of modern Ukrainian writers present the topos of the cities of Kyiv, Lviv, Ivano-Frankivsk (Stanislavov), Zhytomyr, Rivne, Ternopil, Kharkiv, and Chernivtsi. Literary researchers have repeatedly addressed the problem of the formation and establishment of urban literature. However, the work of Olga Salipa – an original artist of the word, the author of a number of novels and novels, and the winner of the «Coronation of the Word” contest – remains outside the attention of literary critics. In the article, we focus on the urban portrait of Proskurov at the turn of the 19th-20th centuries and Khmelnytskyi at the beginning of the 21st century. In Olga Salipa’s novel “The House on Aptekarska”, the life of the city is conveyed through the perception and feelings of two women – the pharmacist’s wife Mykhailyna Derevoyed and Ulyana (Lyana) Yakovenko. The author, drawing urban pictures, depicts the city as an environment where a person seeks to find himself, establish himself and realize his place in the world. Various locations of the city appear on the pages of the work, we meet detailed descriptions of urban landscapes. Olga Salipa provides an interesting description of Proskurov, which allows the reader to immerse himself in the atmosphere of city life at the end of the 19th century, and the novel clearly outlines the modern trends of city life. The writer, first of all, reflects the city as an environment where a person seeks to find himself, establish himself and realize his place in the world. The city has the ability to preserve and transmit from generation to generation informational and cultural codes, which are the basis of civilizational development. The feeling and perception of the city are consonant with the mental visions and experiences of the main characters, which proves the tendency to psychologize the narrative. The creativity of Olga Salipa witnessed the further expansion of the thematic horizons of modern Ukrainian prose and the renewal of its genre palette.

Style Recognition of Door God Paintings by Hypothesis Testing for Texture Features of Painting Patterns

Many studies in the literature have presented multiple remote sensing techniques for defect inspection of paintings. At present, however, papers on defect inspection and restoration of oriental architectural arts—such as door god paintings—are still rare. If an aged and damaged door god painting needs a restoration, then following the style and treatment skill of the original artist as much as possible is important for the restoration. Unfortunately, it is usually difficult to access the original artists for some of the aged door god paintings. This paper considers the texture features of auspicious patterns of armors on warrior door gods as useful information to recognize styles of door god paintings by unknown artists. First, a two-level two-dimensional discrete wavelet transform coupled with co-occurrence matrix calculation was adopted to analyze the texture features, based on the descriptors of angular second moment (ASM), entropy (ENT), contrast (CON), homogeneity (HOM), dissimilarity (DIS), correlation (COR), and cluster tendency (CLU), in the four orientations of 0° (horizontal), 45° (vertical), and 90° and 135° (double diagonal). Second, a two-tailed t-test based on the analyzed texture features was introduced into the hypothesis testing for demonstrating the master and apprentice relationships between the surveyed artists, and for recognizing the door god painting styles of unknown artists as well. The experimental results show that the proposed method effectively describes the texture features of the auspicious patterns of the surveyed door god paintings, and is able to determine the useful co-occurrence features for recognizing unknown artists’ painting styles.

Mykola Chyrskyi is an original artist of the Ukrainian diaspora

Mykola Chyrskyi is an original artist of the Ukrainian diaspora

Blockchain Based Model for Royalty Payments of Artists and RemixMakers

Blockchain being an arising technology in recent years; it has yet to delve more into the music industry. This paper precisely enlightens the scope of blockchain technology in the music sector. The existing music industry deals with the issue of immense plagiarism. It discredits the original artist and the disorder in recognizing the true talent of hardworking artists, which often gets overlooked by those who have fame and popularity and big music labels as a pillar to support. The purpose is to create a foundation for those who have talent but not the opportunity to shine along with the fact that every hardworking artist, irrespective of the fame or popularity, can get their deserved recognition and royalty with the prospect to be appreciated through the methodology where on an upload; With the help of Ethereum blockchain and IPFS, revenue will go directly to the artists transparently and securely. The hash and its fingerprint are generated to check for copyright. If successful, a transaction system is carried out with the help of a decentralized application.

Рецепция романа Ф.М. Достоевского «Подросток» в исследованиях русских авторов 1900–1940-х гг.: религиозно-философское осмысление, биографика, психоанализ

The history of the perception of Fyodor Dostoevsky’s novel The Adolescent in the first half of the 20th century is divided into two large, qualitatively different periods: the Silver Age and the 1920s–1940s. The peculiarity of the first one is the discovery of Dostoevsky as a philosopher and religious thinker, while the second the awareness of him as an original artist. Therefore, in the first period, “ideological” and “spiritual” interpretations of The Adolescent prevailed, in the second – scientific studies of his poetics and especially of the manuscript corpus. The main areas of study of The Adolescent in the 1920s and 1940s were biography, psychoanalysis, and poetics, together with a continuous religious and philosophical understanding of the novel. The reviewed material is considered in chronological order. There is no clear distinction between Soviet and emigrant researchers, although there is a difference in the conditions in which they worked. Among the authors who wrote about The Adolescent in the 1900s and 1910s, symbolist and religious-philosophical interpretations predominate (D.S. Merezhkovsky, A.A. Blok, V.V. Rozanov, A.S. Glinka-Volzhsky, N.A. Berdyaev), judgments from the positions of naturalism, positivism, and Marxism are less common (A.I. Vvedensky, V.V. Veresaev, V.F. Pereverzev). If in the USSR of the 1920s–1940s references to The Adolescent in a religious and philosophical way are rare (N.O. Lossky), then in emigration they are quite numerous (metropolitan Antony Khrapovitsky, N.A. Berdyaev, A.Z. Steinberg, E.Yu. Kuzmina-Karavaeva, N.O. Lossky). In Dostoevsky’s biographies of the 1920s–1940s, the myth of the writer’s gloomy childhood prevails, as if depicted in the plot of Arkady Dolgoruky, the hero of The Adolescent (L.P. Grossman, I.D. Ermakov, K.V. Mochulsky), but in the same years, there is confidence in the evidence of Dostoevsky’s happy childhood (O. von Schultz, G.I. Chulkov). Psychoanalysis, authoritative in the 1920s, considered the family conflict of The Adolescent in the light of the Oedipus complex and the teachings of Z. Freud on the structure of the human personality (A.A. Kashina-Evreinova, B.A. Griftsov, I.D. Ermakov, P.S. Popov).

Рецепция романа Ф.М. Достоевского «Подросток» в исследованиях русских авторов 1900–1940-х гг.: религиозно-философское осмысление, биографика, психоанализ

The history of the perception of Fyodor Dostoevsky’s novel The Adolescent in the first half of the 20th century is divided into two large, qualitatively different periods: the Silver Age and the 1920s–1940s. The peculiarity of the first one is the discovery of Dostoevsky as a philosopher and religious thinker, while the second the awareness of him as an original artist. Therefore, in the first period, “ideological” and “spiritual” interpretations of The Adolescent prevailed, in the second – scientific studies of his poetics and especially of the manuscript corpus. The main areas of study of The Adolescent in the 1920s and 1940s were biography, psychoanalysis, and poetics, together with a continuous religious and philosophical understanding of the novel. The reviewed material is considered in chronological order. There is no clear distinction between Soviet and emigrant researchers, although there is a difference in the conditions in which they worked. Among the authors who wrote about The Adolescent in the 1900s and 1910s, symbolist and religious-philosophical interpretations predominate (D.S. Merezhkovsky, A.A. Blok, V.V. Rozanov, A.S. Glinka-Volzhsky, N.A. Berdyaev), judgments from the positions of naturalism, positivism, and Marxism are less common (A.I. Vvedensky, V.V. Veresaev, V.F. Pereverzev). If in the USSR of the 1920s–1940s references to The Adolescent in a religious and philosophical way are rare (N.O. Lossky), then in emigration they are quite numerous (metropolitan Antony Khrapovitsky, N.A. Berdyaev, A.Z. Steinberg, E.Yu. Kuzmina-Karavaeva, N.O. Lossky). In Dostoevsky’s biographies of the 1920s–1940s, the myth of the writer’s gloomy childhood prevails, as if depicted in the plot of Arkady Dolgoruky, the hero of The Adolescent (L.P. Grossman, I.D. Ermakov, K.V. Mochulsky), but in the same years, there is confidence in the evidence of Dostoevsky’s happy childhood (O. von Schultz, G.I. Chulkov). Psychoanalysis, authoritative in the 1920s, considered the family conflict of The Adolescent in the light of the Oedipus complex and the teachings of Z. Freud on the structure of the human personality (A.A. Kashina-Evreinova, B.A. Griftsov, I.D. Ermakov, P.S. Popov).

Pinter's World: Relationships, Obsessions, and Artistic Endeavours

Pinter's World: Relationships, Obsessions, and Artistic Endeavours

Research Report

Translucent or “sheer” textiles are uncommon representations in ancient Maya art. Where they have been recognized, they almost exclusively are associated with females. A vase in the American Museum of Natural History in New York demonstrates translucent textiles worn by males and is perhaps the first recognized example of males wearing such textiles on ancient Maya painted ceramics. Visual inspection of the vase under magnification and ultraviolet light indicates that the original artist of the vase intended the textiles to be translucent, confirming that their “sheer” representation was intentional. This evidence adds to the limited repertoire of translucent textiles worn by males in the ancient Maya world.

“How Ad Music Attitude-Based Consumer Segmentation Can Help Advertisers”

Audio-visual advertising expenditure in developing countries like India is growing fast. Focusing on the advertising music attitude, global and local advertisers need to look into the musical consumption pattern of potential Indian consumers. Different consumers have different attitudes toward music deployed in the advertising, which they evaluate from the perspective of its fit (with different elements of the advertising); created appeal; utilitarian value. Hence, this study focuses on identifying possible segments of consumers based on their attitude toward advertising music (Aam); ascertaining the difference between segments. Further, this study aims at ascertaining the musical preferences of consumers that may prescribe to substantial managerial implications. To identify segments, cluster analysis was carried out based on Aam . Further, a multiple discriminant analysis (MDA) was conducted to find out the difference between clusters/segments. To identify consumers’ music preferences, respondents were asked to rank their topmost music genre out of ten suggested genres. This research identified three consumer segments based on their Aam: enthusiasts, mainstreams, and non-enthusiasts. Enthusiasts, mainstreams, and non-enthusiasts all prefer advertising music from their favorite artists. The results indicated that the discriminant functions among clusters are significant. Consumer segmentation based on Aam increases ad strategy effectiveness. Enthusiasts have a broad musical preference facilitating the most creativity in ad development and execution. Advertising music budget will determine music choice (preexisting, new, original artist, cover, etc.). Consequently, Aam segmentation would help advertisers to design effective advertising music strategy.

Integration of multispectral visible-infrared imaging and pointwise X-ray fluorescence data for the analysis of a large canvas painting by Carpaccio

In this work, we studied the canvas “The meeting of the pilgrims with the Pope” by Vittore Carpaccio fusing in a single data structure the pointwise XRF analysis with the Vis-IR multispectral data acquired on the painting. We proposed a workflow for analyzing and interpreting the data using Principal Component Analysis. The effectiveness of this approach is evaluated against the analysis of the data analyzed as separated contributions. The proposed procedure is demonstrated on the red pigments, which are predominant in this painting and in Carpaccio's production in general, highlighting information regarding the original artist's technique and regarding restored areas.

Music fingerprinting based on bhattacharya distance for song and cover song recognition

People often have trouble recognizing a song especially, if the song is sung by a not original artist which is called cover song. Hence, an identification system might be used to help recognize a song or to detect copyright violation. In this study, we try to recognize a song and a cover song by using the fingerprint of the song represented by features extracted from MPEG-7. The fingerprint of the song is represented by Audio Signature Type. Moreover, the fingerprint of the cover song is represented by Audio Spectrum Flatness and Audio Spectrum Projection. Furthermore, we propose a sliding algorithm and k-Nearest Neighbor (k-NN) with Bhattacharyya distance for song recognition and cover song recognition. The results of this experiment show that the proposed fingerprint technique has an accuracy of 100% for song recognition and an accuracy of 85.3% for cover song recognition.

《江南好人》의 ‘낯설게 하기’ 양상 : 브레히트 서사극 변용 측면에서

《Jiangnanhaoren(江南好人)》made in the course of Yueju(越剧) reform are experimental plays of tradition. Therefore, it may still be hasty to discuss the success or failure of a new theory, focusing on the introduction of a new theory against traditional ideas. In this study, I tried to focus on how ‘defamiliarization Effect’ of Brecht’s Epic was transformed and applied in Yueju(越剧) 《Jiangnanhaoren(江南好人)》. It is said that while pursuing reform, the existing Yueju(越剧) has remained in the line of strengthening performance in the existing repertoire of materials. The evolution of the Yueju(越剧) epic has been markedly different in the new concept of Yueju(越剧), 《Jiangnanhaoren(江南好人)》. Traditional dramas, which were locked in the framework of the original artist’s love and the simple structure of good and evil, were transformed by the content and modern meanings of contemporary and philosophical objects. Chinese visitors were asked to face the Strange Yueju(越剧) epic. This is a reshuffling of Brecht’s original work, and it is meaningful that it has expanded the limits of the repertoire of Yueju(越剧) by actively moving Western works to China. I looked at three aspects of 《Jiangnanhaoren(江南好人)》’s strange trial, hangdangjuese(行当角色), stage performance, and Xiqu(戏曲) music. Maoweitao(茅威涛)do, the first Xiaosheng(小生) in Yueju(越剧), abandoned the familiar “formal type” and created a new way of expressing not only a double role and the gender change of a character but also a expressing way of new Dan(旦).BR The stage presentation showed modernity and reformability. It can be confirmed that the actors’ costumes, dances, and stage settings were drawn from the West and that they created a completely new Yueju(越剧) drama stage by using modern technology. Above all, by adopting Brecht’s epic style that awakens audiences through singing and singing, the drama is clearly different from traditional Yueju(越剧) dramas. All of this has been transferred relatively smoothly to the Yueju(越剧) stage with ‘defamiliarization Effect’ effect to secure audience close. Preservation and maintenance are more difficult and therefore valuable, just as history and classic are in itself meaningful, the tradition of classical Xiqu(戏曲) should also be valued. On the other hand, Xiqu(戏曲) must have constant creativity during the evolution process of the play itself, as they are an art of on-site importance with audience. However, not all classical Xiqu(戏曲) are responsible for modernization. Therefore, recognition and understanding of the two directions are necessary. Various criticisms and arguments on the Yueju(越剧) 《Jiangnanhaoren(江南好人)》’s attempts to modernize should ultimately be viewed flexibly from this point of view.

KaraMIR: A Project for Cover Song Identification and Singing Voice Analysis Using a Karaoke Songs Dataset

We introduce KaraMIR, a musical project dedicated to karaoke song analysis. Within KaraMIR, we define Kara1k, a dataset composed of 1000 cover songs provided by Recisio Karafun application, and the corresponding 1000 songs by the original artists. Kara1k is mainly dedicated toward cover song identification and singing voice analysis. For both tasks, Kara1k offers novel approaches, as each cover song is a studio-recorded song with the same arrangement as the original recording, but with different singers and musicians. Essentia, harmony-analyser, Marsyas, Vamp plugins and YAAFE have been used to extract audio features for each track in Kara1k. We provide metadata such as the title, genre, original artist, year, International Standard Recording Code and the ground truths for the singer’s gender, backing vocals, duets, and lyrics’ language. KaraMIR project focuses on defining new problems and describing features and tools to solve them. We thus provide a comparison of traditional and new features for a cover song identification task using statistical methods, as well as the dynamic time warping method on chroma, MFCC, chords, keys, and chord distance features. A supporting experiment on the singer gender classification task is also proposed. The KaraMIR project website facilitates the continuous research.

It’s Bigger Than Hip-Hop: Sampling and the Emergence of the Market Enhancement Model in Fair Use Case Law

“Sampling” copyrighted works to create new expression has a rich history in creative culture, particularly in hip-hop music, a genre that values revision and recontextualization. However, courts are mixed on whether sampling should be considered fair use. Many courts have found that sampling harms the original artist’s ability to license copyrighted material, thereby diminishing the work’s marketability. But some courts recognize that sampling can enhance the market for the original work. The present study explores the tension between these opposing fair use models—what we call the “pure market substitute” and “market enhancement” models—currently percolating in lower courts. Through an analysis of cases involving hip-hop sampling and similar practices, we argue that the “market enhancement” model, which considers cultural and audience characteristics that impact marketability, better serves the goals of copyright law and should be more widely adopted. We further recommend that courts consider three factors when analyzing market impact in fair use sampling cases: provable effects of the sample on the market for the original work, the nature and duration of the original author’s market participation, and the similarity between markets for the original and secondary works.