Perception Of Art Research Articles

КРИТЕРІЇ СФОРМОВАНОСТІ ХУДОЖНЬО-КОМУНІКАТИВНОЇ ГОТОВНОСТІ МАЙБУТНЬОГО ВИКЛАДАЧА МУЗИЧНОГО МИСТЕЦТВА

The article analyzes scientific works on the research problem, which made it possible to determine the artistic and communicative readiness of the future music teacher as a prerequisite for purposeful and effective activity. As a complex, multifunctional, integrative, professional personal formation, which, on the one hand, manifests itself as the ability of the future specialist to adequately perceive and interpret the artistic and figurative content of a musical work, to carry out an artistic and communicative dialogue with its author, and on the other hand, to direct the artistic dialogue to the student, to the audience, to involve the subjects of communication in the process of artistic communication, to promote the development of personal and creative qualities, emotional and valuable attitude to the surrounding world and oneself. The formation of the artistic and communicative readiness of the future music teacher is a controlled process, which involves the mastering of future specialists with knowledge, skills, innovative forms and methods of learning, which will provide the opportunity to carry out professional activities productively. According to the structure of readiness, the criteria and indicators of the formation of the artistic and communicative readiness of the future music teacher are defined and characterized, namely: value-motivational, cognitive-intellectual, operational-communicative, reflexive- volitional. It has been established that artistic and communicative readiness presupposes a positive attitude of future specialists towards future professional activities; characterized by general artistic erudition, education, musical-theoretical and musical-performance competence, stage- performance culture of future specialists, their ability to establish an artistic-communicative dialogue with the author, himself, students, audience; to possess the technique of artistic and pedagogical communication, professionally significant personal qualities, in particular, communicativeness, creativity, the ability to empathize and reflect, critical thinking, the culture of artistic perception, which are effectively realized and formed in artistic and interpretative activities.

СПІВ-ТВОРЧІСТЬ У ПРОЦЕСІ МУЗИЧНО-ВИКОНАВСЬКОЇ ІНТЕРПРЕТАЦІЇ ХУДОЖНЬОГО ОБРАЗУ

The article analyzes the scientific works of famous music educators, in which artistic and performing interpretation is defined as an active creative process, an individual, unique artistic and figurative understanding of the content of a musical work. It has been established that performing interpretation involves a creative search, valuable understanding and evaluation of a musical work, thanks to which an artistic image is created that is adequate, but not identical to the author's vision, containing the full potential of the «I» of the performer's personality in the process of artistic cognition. Therefore, the presence of a high degree of creative independence, the development of a unique associative complex, fantasy, imagination, the art of reincarnation, empathy and co-creation in the artistic- interpretive process contributes to the non-stereotypical solution of creative tasks, "entering" the deep layers of a musical work, dialogicity of artistic communication, artistic dialogue and co-creation with the author of the musical work. Subjectivization of the reproduction of a musical image is a natural phenomenon, since each performer differs in the level of knowledge, skills, development of emotional and empathic culture, performance technique, experience of artistic perception, development of musical abilities and other performance qualities that characterize him as a unique personality and determine individual artistic and interpretive process. It has been proven that precisely thanks to the elements of co-creation, the enrichment of the artistic interpretation process with the extraordinary thinking of the performer, his personal and individual attitude to the work, the artistic interpretation becomes not only adequate and convincing, and personally-convincing, personally-adequate, harmoniously combining the classical interpretation of the work with an individual vision and feeling of its essence, the spiritual-personal potential of the work is realized, a state that contributes to the solution of the personal task is reached. Through co-creation, the dialogue of consciousness, the understanding of the other as oneself, and the experience of the "spirit" of the musical work are carried out. The ability to co-create as a certain way of dialogic communication between the composer and the one who understands the artistic image determines the level of musical performance competence of the future teacher of musical art.

대중의 예술지원사업 공정성에 대한 인식 분석

In Jun 2021 Moon Joon-yong, a media artist and the son of president Moon Jae-In received 69million won from the Arts Council Korea. This caused a social debate about the fairness of art support project. The research of the fairness perception of artists has been conducted. However the public perception of fairness has been insufficiently analyzed. Therefore, this study tries to analyze the public perception of fairnesss thereby finding solutions to social conflicts. A mixed research method was adopted for this research. The results of this study is the perception of fairness can be changed according to the view on various goals of art support. It is expected that this study will contribut to make the formation of desirable public art support policy.

Литературные портреты Н. Гумилева и А. Блока как часть мифа о русском поэте в мемуарных очерках Г. Иванова

The article deals with the problem of mythologized perception of the names of the poets of the Silver Age N. Gumilev and A. Blok in the works of G. Ivanov «Chinese Shadows» and «Petersburg Winters». The purpose of this study is to determine, based on a comparative analysis of the literary portraits of N. Gumilev and A. Blok, which are created using the contrast technique, the specifics of the myth about the Russian Poet in the memoir prose of G. Ivanov. The two poets are contrasted on the basis of a number of criteria: appearance, character, attitude to creativity, their political position, etc. In conclusion, the article concludes that N. Gumilev and A. Blok, acting as antipodes in the eyes of contemporaries, nevertheless, have similar qualities inherent in the Russian poet: love for the Motherland, dreaminess, nobility, chivalry, romantic nature, inner dualism, hatred of falsehood, lies and willingness to sacrifice for the sake of creativity. G. Ivanov, creating a literary portrait of poets, combines real features in their images with an artistic perception of their personality, thereby making their biography part of the myth of the Russian poet – prophet, for whom life, Russia and creativity are one.

Why art? The role of arts in arts and health.

This article is an answer to a report called "What is the evidence on the role of the arts in improving health and well-being?" The authors conclude that the arts have an impact on mental and physical health. Yet, the question of the role of the arts remains unanswered. What is and what is not an art effect? Recently, embodied theory has inspired articles on the perception of art. These articles have not yet received attention in the field of Arts and Health. Scholars in psychosomatic medicine have argued for an approach based on recent work in enactive embodied theory to investigate the connection between the body and the mind. The present article examines how key concepts in this theory relate to art. This leads to a discussion of art in terms of empathy-the relation between the internal state of the artist and the internal state of the beholder. I exemplify with a conceptual framework of musical empathy. Implications for health are addressed.

Gender and Beauty Presentation in Art

How do the perception and presentation of both beauty and gender differ and compare? These concepts (feminism, masculinity, and beauty) have struggled to be defined in their respective fields, Gender Theory and Aesthetics, due to their multiplicitous nature. When analyzing the works of gender-questioning artists Cindy Sherman and Claude Cahun, the connection between the subjectivist approach to aesthetic analysis and Judith Butler’s theory becomes apparent. In these works, it is the signifiers, not the person who allows us to interpret the art as gendered or beautiful. The idea of no inherent gender on a body is essentially the same as no intrinsic beauty within a work. This idea then questions the perception and study of art and gender.

Orientación y reflexión: una investigación sobre la nueva sensibilidad de Susan Sontag

Abstract: This paper uses the research method of historical context to place Sontag’s “New Sensibility” in the historical context in which “the demise of art” was prevalent, and puts forward that Sontag’s “New Sensibility” is the sensibility in line with the needs of that time by denying “the demise of art” and affirming the dominant position of visual art. Its definition can be summarized as an ability of aesthetic perception of arts. It appeals to pure sensibility to appreciate visual arts, and devotes to changing modern people’s consciousness and sensibility. At the same time, by comparing “New Sensibility” with “Camp Sensibility”, proposed by Sontag, and “new sensibility”, proposed by Marcuse, this paper points out that the main connotation of “New Sensibility” is to emphasize form, neglect content and suspend morality. However, “New Sensibility”, which overemphasizes perceptual experience and ignores moral dimension, has its inherent defects, which cannot be ignored. Therefore, this paper finally takes Sontag’s critical practice of Riefenstahl as an example to specifically explain the defects of “New Sensibility” and reflect on it. More than half a century after Sontag’s “New Criticism”, the orientation and reflection of it is conducive to re-facing the significance and value of it under the background of further development of science and technology and more diversified artistic styles at contemporary era.

13. The Acoustic Analysis of Violins and the Artistic Impressions Evaluated by Musicians

Abstract Violin studies can be classified into two main types: psychoacoustic studies, which are based on the artistic perception of audibility by violinists and vibro-acoustic studies, which are based on the spectral analysis of the vibrations and sounds produced by the instruments. The paper presents the acoustic analysis of violins by means of specialized software, their main acoustic characteristics being extracted in the form of frequency spectrum, spectrograms, specific modes and number of harmonics. These results were compared with the results of the opinion poll among musicians regarding the acoustic qualities of violins, based on musical auditions. The results highlighted the fact that the acoustic analysis technique cannot detect in totality the psycho-acoustic effects of musical sounds, therefore the establishment of the acoustic quality of the instruments on objective foundations, since the personal touch of an instrumental artist aims at the approach and articulation of the musical discourse, in a complex manner, combined with the interpretation of forms and styles.

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.

Мортальные мотивы стихотворения И. Бродского «Бессмертия у смерти не прошу...»

The article is devoted to the analysis of Joseph Brodsky’s poem “I Do Not Ask for Immortality from Death…” (1961), which has not previously been subjected to a detailed philological analysis, a number of images and motives of which cause discrepancies. The research is undertaken in order to comprehend the role of the theme and motives of death in the formation of the poetic world of this early poem and later poetic texts by Brodsky. The authors differentiate the synchronic and diachronic approaches to the perception of the text of the poem “I Do Not Ask for Immortality from Death…” and identify the constants of the artistic perception of the lyrical hero, the author’s alter ego at different stages of the poet’s work. The scientific novelty of the study consists in the fact that for the first time it deciphered the unclarity that caused serious difficulties for critics (the images of the “pink corner” and the “crushed spider”) and emphasized the conditions for the emergence of images of death, time, and immortality in Brodsky’s texts that are cross-cutting for all creativity. As a result, it has been proved that the nature of the philosophical mood of the lyrical hero and the poetic world of Brodsky’s poems as a whole is largely related to his psychophysical state, an early fatal diagnosis - “heart defect”.

현대미술에서 나타나는 헤테로토피아와 사적 공간 연구

The purpose of this study is to discuss the important spatiality in contemporary art. Contemporary spaces show a variety of shapes and scopes, from independent private spaces to wide open public spaces. This aspect of space also appears in the art exhibition hall. Therefore, the purpose of this thesis is to examine the form of space and the viewer's visual perception in installation art among contemporary art fields. Chapter 2 examines the spatiality of installation art and discusses the visual and perceptual experiences felt in space. Chapter 3 examines private space and private space, which are the minimum units of spatial classification. Through the installation work presented in this thesis, it is possible to confirm the space that the viewer remembers and the new spatial perception that occurs in the process of experiencing the work. The last chapter discusses the new space created by the artist and the audience, the space of heterotopia that is both private and public. In this way, it is thought that it can be applied to various fields by confirming the scalability and scalability of thinking about space that contemporary art pursues.

Л.Н. Толстой и его франкоязычные корреспонденты об искусстве. Рецепция трактата «Что такое искусство?» во Франции

The article concentrates on the study of French-speaking correspondents’ letters to Tolstoy, the texts of which are being introduced into scientific circulation for the first time. The work aims to identify the French literary context reflected in Tolstoy’s treatise “What Is Art?” The article analyzes the reception of the writer’s views on art in France. The object of the investigation is the multilingualism of the treatise: Tolstoy often gives literary movements, foreign authors, and the names of their works in the original language, since he addresses an educated reader. The treatise’s author follows the classification of contemporary French literature, offered by J. Huret, author of the book “Enquête sur l'évolution littéraire” (Paris, 1891). It was available in Tolstoy’s library in Yasnaya Polyana but has not yet become the object of research in connection with his treatise. The article considers the reception of the treatise “What Is Art?,” published in France in 1898 in two translations at once — by Theodore de Wyzewa and E. Halperin-Kaminsky — and aroused keen interest among French readers. An important part of the research is devoted to the problem of understanding and perception of art, expressed in Tolstoy’s correspondence with French writers and journalists — M. Prevost, P. Sabatier, and R. Doumic. The article examines the works of Russian researchers P.S. Popov and B.V. Gornung, who attempted to identify the range of foreign sources of the treatise “What Is Art?” and determine its place in the field of aesthetics and in the works of Tolstoy.

90 лет психолого-педагогической подготовки кадров в вузе культуры

The article highlights the main milestones in the history of the Department of Psychology and Pedagogy, formed at the first institute of out-of-school education in Russia, which even today trains cadres of cultural figures for Russia and other countries. The author, who has headed this department for almost 30 years, shares her memories, thoughts about the role of the department of pedagogy and psychology in the training of humanitarian specialists, about those who worked at the department, whose research, initiatives, communication style shaped the traditions of the department, influenced numerous graduates. The article shows that the outstanding psychologists and teachers A. G. Kovalev, E. A. Korsunsky, I. F. Goncharov, V. L. Drankov laid the foundation for scientific research problems, continued by colleagues not only in this, but also in other departments. The author notes the importance of general scientific disciplines for the professional training of humanities, drawing attention to the importance for the teachers of these departments of development and courses of the professional cycle in the case when the department becomes a graduating one. At present, the need for a psychological and pedagogical component of the educational process seems to be particularly relevant. It is in the classes in psychology and pedagogy that students gain knowledge about the formation of personality, the problems of growing up, the nature of talent and the perception of art, building a family and education of patriots. It is noted that the experience of the department for 90 years shows the positive and negative aspects of domestic education, which are instructive for modern teachers.

Divine genius, subversive hero, or creative entrepreneur? Exploring various facets of the artist as a mythical figure

People have always related art to the creation and transmission of myths. While myth as a theme in art has been thoroughly addressed, research about the ?mythic? nature of the artist figure is far less common. The 20th and 21st centuries brought challenges to the status of art and artists in society, historically situated archetypes and stereotypes that we associate with the figure of the ?artist? still survive to this day (e.g. ?genius?, ?subversive artists?, ?child prodigy?, ?eccentric?, etc.). In this paper, we set out to analyze various tropes used persistently to describe artists and explore how relevant the resulting myths are in (self) perceptions of Serbian contemporary artists. Our multidisciplinary approach to this topic combines a historical-theoretical and empirical perspective. Through historical research of the relevant literature, we described and mapped the key tropes of the (mythical) artist figure as it developed in Western culture. In the theoretical analysis we address the inseparability of digital culture with everyday life of people today, which we call postdigital. We explore how the transition into contemporaneity affects the determination of the ?artist-figure?, i.e., how it impacts the contemporary process of myth-making. Following our historical-theoretical analysis, we conducted five in-depth interviews with contemporary Serbian artists to understand better how relevant the artistmyth tropes are for their self-perception.

СУЩНОСТЬ МУЗЫКАЛЬНОЙ КОНЦЕПЦИИ А.И. ГЕРЦЕНА НА СТРАНИЦАХ «БЫЛОГО И ДУМ»

The subject of the article: the essence of A.I. Herzen's musical concept on the pages of The «Past and doom». The object of the article: nineteenth century: public life, a special type of philosophizing in literary circles, musical creativity, The purpose of the project: to update for the scientific world information about the intellectual history of Russia through the prism of studying one of the greatest works of A.I. Herzen, to formulate the grounds for research work. Methodology of the work: construction of a musical concept of the context of Herzen's literary work "Past and doom", in which the author, along with the ideological life of his time, recreates the artistic chronicle of the nineteenth century, which reflected diverse cultural phenomena, and Herzen himself showed himself not only as a philosopher, historian, ideologist, politician, public figure, but also and as a connoisseur of art. Results of the work: the inclusion of A.I. Herzen's musical concept on the pages of "Past and doom" in the overall picture of a long contradictory process of perception of musical. Conclusion: the scientific novelty of the study consists in considering another talent of Herzen, manifested in the versatility of perception of musical art, in the ability to hear its features and judge it quite professionally.

“On the present state of the Fine Arts in Russia”: Russian Academy exhibitions of 1760s–1820s as seen by foreign visitors

The article is dedicated to the perception of Russian art, seen by foreign visitors at the exhibitions of St Petersburg Imperial Academy of Arts in 1760s–1820s. It is based on the diaries of several British travellers, as well as a German tourist Johann Christian Müller, picturing the “present state of the Fine Arts in Russia”.

Designing a Distance Course for Developing the Art Teachers’ Media and Information Literacy

Currently, media literacy is a necessary component of the general information culture of a person, which becomes absolutely crucial in the conditions of Russia’s military aggression and the harsh realities of the Ukrainian information space with numerous examples of spreading untrue, unverified, and “fake” information. In recent years, the concept of “media information literacy” (MIL) has become normalized in scientific circulation. It implies recognition of the leading role of information and media in everyday life, enables citizens to understand the functions of mass media and other information providers, critically evaluate their content and make informed decisions. In the documents of UNESCO and the European Commission, the concept of MIL is used as a universal term that denotes a set of knowledge, attitudes, abilities, and skills that allow access to information and knowledge, analyse, evaluate, use, create and disseminate them with maximum productivity in accordance with legislative and ethical standards and with respect for human rights. The article highlights the process of designing the distance course “Media Literacy in Art Classes” for teachers of general secondary education institutions that teach the courses of the art cycle, in particular, the integrated course “Art”. Scientific sources and legal documents were analysed to clarify the essence and modern interpretation of the concept of “media information literacy”; a number of mass open online courses on media literacy were considered; a survey of art teachers was conducted. According to the results of the survey, 6 topics, which were the most interesting to the respondents, were selected and the structure of the distance course, designed for 30 hours, 1 ECTS credit, was formed. The content of the course includes the study of the peculiarities of perception and critical evaluation of visual and audiovisual arts, as well as various aspects of the impact of media arts on the content of media messages. The course can be offered to teachers, especially teachers of primary school and courses in the educational field “Art”, as a certification programme in the system of advanced training.

Три концепции психологии искусства (соотношение психологического, искусствоведческого и философского дискурсов)

Background. At the present time, there has appeared a new interest in understanding the concepts of the psychology of art. The awareness of art and its works lags far behind the practice of artistic life, in which new types of works and new aesthetic concepts, often very different from traditional art forms, have appeared. The problem of demarcation of art and non-art has become aggravated, there is a need for a new cycle of awareness of art and artistic activity. Objective. The article seeks to analyze the characteristic types of concepts in psychology of art, to understand their structure. Considering the approaches in which such concepts were created, as well as scientific discourses and concepts used in this fields, the author focuses on the analyses of three types of approaches (discourses) — psychological, art criticism and philosophical and on understanding the relationships between them. Methods. The paper analyzes the concept of psychology of art by L.S. Vygotsky and one of his followers, V.S. Sobkin, on the example of the discussion of theatrical reincarnation, the concept of art by N.V. Rozhdestvenskaya and the concept of art proposed by the author. The discourses and concepts used in each concept (psychological and non-psychological) are considered, as well as the ways to identify the common structures in these concepts, which determine the contexts of psychological processes and structures. To explain the author's concept of the psychology of art, a case analysis in formation of artistic vision in childhood is proposed. Results. It is shown that in the first two concepts of psychology of art, two main discourses are used — psychological and art history, and in the third — philosophical, within which the whole is set (comprehension of art, artistic communication, artistic reality). The first two concepts differ in the ways of specifying the whole and psychological constructions (in the first, the psychological mechanism is indicated, in the second, a set of processes and structures). Psychological constructions in the third concept are mediated by knowledge of the whole, as a result, some of them are quite well known in psychology, while others are introduced as new concepts. At the end of the article, two more contexts of the whole are indicated: features of individual perception and experience of art, as well as general psychological conditions. Conclusion. Naturally, psychological, philosophical and art criticism approaches to and concepts of art do not coincide. However, many of the issues and theoretical distinctions related to them are either common or overlapping, indicating the interactions of these disciplines.

ZNAČAJ IKT-A U NASTAVI I LIKOVNOJ UMETNOSTI

The paper discusses the importance of using ICT in the context of education and art. A special emphasis is placed on teaching and fine arts. The paper points to the specific features of ICT as a source of widened opportunities for expression, communication, and perception in teaching and art, as well as to it being a support in the engagement and motivation of all participants in the educational or creative process. Furthermore, it points to the necessity of the development of teachers’ professional and digital competencies for us to harmonise the teaching process with modern social life and thus essentially improve the quality of educa- tional work. It also deals with new tools, programs, and the use of technologies in the process of creating art. The advantages of using ICT in terms of domains and opportunities in the process of learning are highlighted, as well as the potential that they have to transform the process of education or artistic creation. Fine arts are the sphere ICT has improved and could improve even more. ICT has been used by architects and designers to facilitate the process of creating and promoting their skills. The manner in which fine arts are taught nowadays is largely different from that of the past. While students once had to rely entirely on their teacher, textbooks, and encyclopedias, today’s students have more resources made available by ICT, such as databases about artists’ lives and works or high-quality images that can be enlarged and thoroughly examined, all of which may enhance their own creativity and perception.

The attitude of uzbek scientists to the problem of developing perception and imagination of visual art works among schoolchildren

This article discusses the scientific views and contributions of Uzbek scientists in teaching visual arts at school. First of all, research on this topic should be continued, and most importantly, the existing experiences in the art of reading, especially the experience of developed countries, should be introduced into the publishing practice, and we should achieve the publication of textbooks prepared for schoolchildren at the level of the requirements of the art of reading.