Perception Of Art Research Articles

Symbiosis of digits and contemporary art. The New World of NFTs

The article comprehensively examines NFT technology as a new phenomenon in the visual art of Ukraine. This newest component of digital art practice, despite its considerable success, has not been studied and needs to fix the main characteristics and determine the future prospects of development. Thus, the article traces the genesis of this technology, defines concepts, functions, advantages and disadvantages. The new NFT works were analyzed and the peculiarities of their influence on the perception of contemporary art by society were clarified. The author defines the place of NFT art both in the system of visual art of Ukraine and in the global creative paradigm. In addition, the discussions that are taking place in the professional artistic environment regarding the appropriate legal basis for the circulation of NFT in Ukrainian have been updated. In particular, the issues of clarifying the levels of protection and transfer of intellectual property rights of new digital assets are discussed both in the domestic situation and within the framework of international legal systems. New forms of organizing contemporary art exhibitions in the crypto world and changes in the general format of art collecting are also defined.

Variety Vocal Art in the Context of Integration into Society of the Future

The urgency of the research is determined by the intensive development of new technologies as prospects for further development of society. Art accumulates intellectual, spiritual, material, and value heritage of previous epochs and determines the perspective features of the future. Vocal art is thereby one of the manifestations of individual ideological rethinking. Variety as a socio-cultural phenomenon combines different styles of music, genres, types, and aspects of professional music and vocal performance, which is important for the research in the context of social rethinking of future social development. Objective of the article is to determine specifics of pop vocal art, its long-term development as an aspect of integration into society of the future. The article reflects the essential characteristics of the concept of pop vocal art and worldview perception of art as an aspect of the future society. In the process of research a method of abstraction, descriptive method, methods of analysis and synthesis were used in the theoretical substantiation and characterization of pop music as a vocal art. The method of generalization and systematization was used to determine the results of the research. The results became the basis for asserting the importance of pop vocal art in the further development of society.

NEW SINCERITY IN POST-POSTMODERN ART

This article explores an issue of New Sincerity in post-postmodern context, in post-postmodern culture uppermost and in literature in the first instance. The research considers post-postmodern New Sincerity in comparison with postmodern apathy, redundant intellectualization and quotation, etc. In such a case New Sincerity is closely related to post-postmodern genuineness, authenticity, honesty, veracity, earnest and seriousness. Postmodern ironical eclecticism as a kind of deconstruction develops in reconstructive post-postmodern non- and metafiction sincerity. Therefore, New Sincerity as a sensitivity appears both as a general cultural atmosphere and a certain kind of philosophy with its peculiar aesthetics, ethics, ontology, etc. For example, the category of beauty realizes in post-postmodern aesthetics in a connection with a more sincere perception and feeling of art and nature. The article investigates the differences between New Sincerity and postirony and New Sincerity turns out to be not so much ironic as humorous. The exploration of New Sincerity takes place in its main part on the material of post-postmodern literature, which in the best way combines conceptualizing and perceptualizing. However, in its most actual manifestations, New Sincerity in connection with postirony appears at the intersection of theory, literature, movie, rock, network and mem-art, etc. In all cases, an appeal to vernacular culture allows for conveying a private experience. In such a context post-postmodern art become more sincere than postmodern one. Rude jokes or mundane activity, traumatic or banal contribute to the achievement of a greater degree of intimacy and love than overly straightforward tolerance. The reason for this is postironical supposition, that irony ironizes itself and became self-referential and hence therapeutical and joyful. Thus, New Sincerity appeals to the interconnection of seriousness and postironic humor, depth and superficies. In conclusion, the article stresses the significance of New Sincerity for post-postmodern aesthetics and ethics. With its help a possibility of sappy personal utterance and access to the Real, lost in the postmodern condition, appears again, renewed and enriched.

New Data for the Portrait of the Ukrainian Pianist Alexander Slobodyanik

Relevance of the study. Oleksandr Slobodyanyk is an outstanding world-class concert pianist. The study of his art is necessary for the further development of piano performance. Slobodyanyk came from Ukraine, but lived half his life in Russia and the other half in the United States. Due to this, his art in Ukraine is insufficiently known and not studied at all. Мain objective of the study: identify a number of important theses that will serve as guidelines for the study of this artistic phenomenon. Мethodology. At this stage, the main method is the collection of scattered and inaccessible materials: sound recordings of the artist's performance, memoirs of his contemporaries and friends, international press reviews. The connection of the comparative method and musicological analysis of recorded performance allows us to draw conclusions about the important features of this pianist`s art. Findings and conclusions. The article speaks about the nationality of Slobodyanyk, the sources of formation of his personality; the essential features of his performing style are formulated. The study of the pianist's repertoire policy reveals the principles of his performing aesthetics. Based on the new materials found, it became possible to evaluate the audience perception of Slobodyanyk's art in different countries. The collected memoirs analysis reveals the peculiarity of his creative method: formation of interpretation during his concert performance. Recordings analysis of his Performances reveals the originality of the content in the pianist's interpretation of the classics. The collected materials draw attention to the following important points of the pianist's performance features: lot of his biography moments still need to be clarified; the process of collecting materials for research remains unfinished; to understand the individuality of the artist, it is important to take into account and sincerely highlight his origins and the influence of family, teachers, environment; to avoid one-sided interpretation of his performance style, it is necessary to study different layers of its repertoire and reviews from different countries to its interpretation. The materials reveal the following features of Slobodyanyk's creative method – a tendency to creativity on stage, "artistic" nature, and immersion in expressive, demonic images. Identified features and problems should determine the guiding directions in the further studies of the great pianist`s art.

退溪 李滉 서예미학의 한국서예사적 위상에 관한 고찰

In the history of calligraphy in the Joseon Dynasty, the 16th century is meaningful in that there were various calligraphy styles besides Wang Xizhi’s calligraphy style and Zhaomengfu’s calligraphy style. Before and after Lee Hwang was alive, there were calligraphers such as Kim Gu, Seongsuchim, Hwang Gi-ro, Yang Sa-eon, and Han Ho. Each of them unfolds a variety of calligraphy styles based on their artistry, and from the perspective of calligraphy aesthetics, it is necessary to pay attention to Lee Hwang’s calligraphy aesthetics. This is because Lee Hwang understood calligraphy in the Joseon Dynasty in terms of ‘painting of the heart’ and ‘painting with calligraphy works’ based on the new Confucianism. Lee Hwang is not considered a famous calligrapher when discussing at a technical level. Lee Hwang is not considered a famous calligrapher when discussing at a technical level. The reason why Lee Hwang was established as a calligrapher is that he unfolded a world of calligraphy creation in which his knowledge and character were combined. Lee Hwang’s evaluation of calligraphy was based on ethics rather than art understood at the technical level. This tells us that Lee Hwang’s studies and art are one. The results of Lee Hwang’s calligraphy creation are evaluated as ‘stiff, robust, upright, and solemn’. Applying this to the philosophy raised by Lee Hwang, the idea that ‘when reason works, energy follows’ is a result of art. In addition, it is the result of Lee Hwang’s philosophy of ‘catch respect’. As such, Lee Hwang’s perception of art that all art should be art on which reason worked emphasizes the calligraphy trend developed by Wangxizi and others. In addition, it develops as a reason for criticizing Zhaomengfu and Zhangbi. The key to Lee Hwang’s evaluation of Zhaomengfu and Zhangbi was that they did not understand the reason properly and worked on art creation. Both Zhaomengfu and Zhangbi. belong to the failure to properly operate the calligraphic meaning of ‘the right law of the heart’ and ‘respect’ in New Confucianism. In addition, it belongs to ignoring the right law and the old law and operating it arbitrarily. If the Korean calligraphy history is identified at an aesthetic level, the calligraphy aesthetics raised at the level of ‘catch respect’ and ‘picture of the mind’ presented a typical example of calligraphy aesthetics that Confucian scholars of the Joseon Dynasty later sought. In this regard, there is a historical significance in Korean calligraphy.

Perception About Online Classes Specific to Discipline and Living Locality of Students

Online education has gained immense popularity among the working people and students pursuing higher education. Various renowned universities all over the world are offering online degrees and diplomas to all people through digital technologies. This enhances the concept of online classes due to the complete shutdown of educational institutions for an indefinite COVID-19 pandemic situation. Though the online classes are an immediate and emergency paradigm shifting in teaching and learning, it has certain drawbacks that concern the student to a larger extent. To examine the effects of online classes in terms of quality, comfort, and compatibility, this study analyzes the students' perception of various arts, science, and engineering colleges. Drawing on data from various students and its statistical test has inferred various challenges faced by the students with respect to their discipline and living locality. The result of statistical analysis recommends more improvisations and special considerations to the educational institutions to make this mode a viable solution.

Examine the significance of the facial makeup pattern used in the Sichuan Opera and its interpretation

Sichuan Opera is a traditional Chinese opera in Chongqing. It is the most well-known local opera in Sichuan and a cultural symbol. This is a cultural symbol passed down through generations of performers. This makeup reflects the personality traits and aesthetic sensibilities of the Sichuan people, as well as the traditional Chinese opera facial makeup art. As a result, Sichuan Opera distinguishes itself from other operas and has become a global symbol of China's strength and resilience. Sichuan Opera facial makeup has a distinct artistic shape, vibrant colours, and intricate decorative patterns. Through their facial makeup, the characters' invisible, abstract and complex inner worlds, thoughts and emotions are displayed incisively and vividly. The pattern design of Sichuan Opera facial makeup reflects the artist's perception of life and opera characters, and it has both artistic and practical value. This paper aims to uncover the artistic value of the Sichuan Opera facial mask's graphic expression through a detailed analysis of the facial makeup structure, lines, and colours. It is no longer limited to opera, but is now widely used as a modelling tool in modern design.

The Research of Computer Simulation of Textual Dimension in the Context of the Musical Discourse

The relevance of the study is determined by the need to rethink musical art as a value orientation in the period of postmodernity. The purpose of the study is to determine the features of the textual dimension of musical discourse as a feature of the postmodern value perception of musical art in combination with the information and computerization of society. The purpose of the article is to show the basic context of the textual dimension of musical discourse. This research shows a holistic analysis of musical art in the context of discourse analysis and innovative modeling, which in the future is a prospect for creating new ideas for the interpretation of musical works. The study highlights the main components of textual analysis of a musical work, as well as the perception of musical discourse as a manifestation of today’s information of social development. For a comprehensive analysis of musical art it is necessary to understand the basic theoretical and methodological approaches to the study of this concept. Therefore, the principal theoretical approaches of scientists concerning musical discourse in the context of the textual dimension were studied, and theoretical problems in musical discourse analysis were developed. Beneficial to study the complex modeling of the textual dimension of musical art, the methods of analysis and synthesis, research method and discourse analysis method were used. This study provided a basis for determining the effectiveness of computer simulation technology in the context of the musical dimension.

Colour, Pattern, Space and Time in Art Perception: Two Case Studies

Summary Colour and space are pervasive topics in both perception and art. This article investigates the role of colour and pattern in relation to space and time in the art works by two artists: Frank Stella, a well-known Post-War American abstract painter, and Pieter Vermeersch, an emerging Belgian abstract painter, representing a contemporary trend to break the barriers between artistic disciplines. While Stella adheres to the Modernist logic of non-illusionistic, non-spatial, non-referential art as object, perceived instantaneously, Vermeersch explores ways to enhance the viewers’ spatial and temporal experiences through complex art installations with multiple objects and architectural elements interacting with each other and with the spaces in which they are embedded. We discuss these major themes in some representative art works, and in the way they are perceived and appreciated by contemporary viewers, investigated in four empirical studies: two laboratory experiments using well-controlled stimuli derived from at works, and two museum studies employing a variety of methods, including mobile eye-tracking and questionnaires.

FOLK-STYLE TRADITIONS IN INDIGENOUS ART OF JAMINI ROY

In early years during the twentieth century, there was a move towards seeking cultural roots, among artists in Bengal, guided by Abanindranath Tagore. Jamini Roy was one of them who made the pioneering efforts to foster self-respect for the indigenous creative output and greatly influenced the perspective towards art in those times.Jamini Roy received his art education through Western art perceptions but as opposed to the aristocratic perspective of the Bengal Art School, Jamini Roy drew inspiration from folk style traditions to create a peculiar indigenous style of his own. He found a quality of freshness, directness and robustness in the artistic spirit that still survives in the scrolls, Kalighat paintings, Puja images and the hordes of artifacts created for rituals – all synthesized with the visual effects of Kanthas and Alpanas. Strong beauty of line work, powerful colour scheming and flawless motifs characterized his impeccable style.Roy, in fact, was trend setter as he had projected the popular style amongst artists to adopt folk style and folk traits to recondition the art works in 1930s. His style of painting is still relevant in today’s Contemporary Art scenario. The images, motifs, symbols, and idioms used by Jamini Roy inspired a number of Indian artists of present times.

Practices of Visual Arts in the Music of the Twentieth and Early Twenty-First Centuries

"The study of transformational processes in contemporary music art under the influence of the fine arts practices is one of the important problems of musical culturology and aesthetics. The study is topical because of the new efforts aimed at understanding and arrangement of the evolution of established aesthetic systems and experiments in music and fine arts in the 20th century and at the beginning of the 21st century, as well as their influence on modern practices of introduction of meaningful elements of painting, graphics, architecture, and multimedia technologies into music creation processes. The aim of the research was to identify current trends in music visualization through the arrangement and generalization of the experience of artists of the 20th — early 21st centuries, who used expressive arts, synthesizing one art into another in their musical compositions, as well as to identify the background of those synthetic ideas and ways to implement them. The scientific research established that the development of synthetic art has its roots in the disposition towards merging arts and versatility. The fine arts practices applied in music has contributed to the expansion and enrichment of artistic means and techniques and has entailed further complication of sound and visual components in the overall concept of the work. It is concluded that the individual creative and personal traits of the artist, who seeks to fully convey the multidimensional figurativeness of the work determine a significant impact on implementing fine arts practices in music. Prospects for further research of the evolution of fine arts practices and audio-visual media in music involve the development of description techniques in the context of the dominance of the visualization factor over music one in artistic perception, as well as the study of the impact of cultural technologization on contemporary music art. Keywords: music, visualization, fine art, artist, interconnection of the arts, synthesis, intermediality "

Pina Bausch and the Dancing Body: Social Constructionism and Identity in Nelken, The Rite of Spring and Kontakthof

This article aims to consider the social construct of the dancing body and its role in the building of identity focusing primarily on the female dancing body as exercised in the seminal works of Nelken, The Rite of Spring and Kontakthof by the German expressionist choreographer Pina Bausch. The phenomenological discourse in these works ‘embody the social and cultural
 dynamics in which they are generated’1, making of them unique performative experiences. In these pieces of tanztheater, the characters embodied in the dancing bodies on stage are both, universal and anonymous, and the stories they tell are about human connexions and their consequences in a defined sphere. In these fundamental choreographies by Pina Bausch our perception of dance art leads to a response that goes beyond aesthetic dispositions and forces the spectator into an explorative interdisciplinary journey of self-discovery. As Pina Bausch herself said, ‘it is not about how people moves, but what moves them’ (Pina Bausch in Bringshaw, 2009).

F. Scott Fitzgerald's The Great Gatsby in Scope of Postcolonialism Theory

The Great Gatsby is a masterpiece of the 1920s. Gatsby reflects that period of gendered, ethnic, and racial anxieties. The First World War and the industrial trajectory of the twentieth century have affected people and their perspective toward life, and races, driving them to dehumanize each other. The world has become a very raciest place constantly. Modernist authors depicted this dehumanization and racism in their works indirectly. Postcolonialism questions and reinvents the modes of artistic perception, the ways of viewing and being. Postcolonialism reading of the novel shows that the society of America in the twenties is separated between superior and inferior.' The Great Gatsby' is a masterwork of F. Scott Fitzgerald whereby the author presents colonial mentality, showing that despite being a modern novel, it also carries the central concept of postcolonialism novels. In this paper, the researcher will trace the characters' status as inferior and superior, showing how characters' behavior has degenerated under modern life's effect and how they show each other superiority. The colonial discourse also affected the colonizer as much as colonized since it is a way of being more than a way of thinking. The paper attempts to figure out the characters' elements of postcolonial discourse. This paper will focus on the main characters regardless of their role in the novel's plot to disclose their reaction toward each other. The paper confirms that Colonialism does not need a colonized population outside a country's geographical borders. Colonized people could be existed within the geographical boundaries of the colonizing country by maintaining the same ideology.

CONCEPTUAL WORLDVIEW IN THE WORKS OF UKRAINIAN WRITERS: THE RENAISSANCE CREATIVITY

This study explores the peculiar features of the conceptual worldview of Ukrainian writers active during the Renaissance (late 15th-16th centuries). Its ultimate goal resides in analyzing the most common interpretations of the concepts of history, state, freedom, ruler, and war by authors working on the territory of Ukraine during the Renaissance period and defining the conceptual ideas represented by these concepts. The relevance of this research is explained by the fact that the Renaissance authors appeal to the concepts significant for any epoch. The specifics of the interpretation of history and its representation in the artistic perceptions of the authors of this period are based on an authentic tradition, the European Renaissance trends, and the revival of ancient heritage. In general, the study is grounded on the semantic-cognitive analysis of the works of Renaissance representatives working on the that-time territory of Ukraine (Adam Chagrovsky, Mikolaj Hussowski, Martin Pashkovsky, Sebastian Klonowic, Szymon Pekala, Maciej Stryjkowski, and Stanislaw Orikhovsky). The conceptual fields of each concept selected for analysis were developed in accordance with the individuality of the notions by which Renaissance authors described them. In sum, this paper argues that the worldview of Ukrainian Renaissance litterateurs is characterized by the awareness of the sociopolitical and cultural-literary need to write about history, its role, and place in the context of world processes. No less critical here is their understanding of the mission of personality in history and the analysis of the activities of historical figures and the reality of that time. Thus, the work of Renaissance authors is predominantly characterized by an expressive anthropocentric, humanistic, and patriotic direction. The practical significance of this research lies in the possibility of applying the semantic-cognitive approach to the analysis of leading concepts in Renaissance creativity.

Virtual Reality as an Artistic Space in the Context of Musical Art

The article highlights the modern view of musical art in the context of the development of information and communication technologies, which form the perception of art in the context of virtual interpretation. The relevance of the study is based on the prerequisites of the modern development of information and innovation society. There is a need for the perception of information in the context of virtual space in the context of the twentieth century. This trend changes approaches to human activities in different spheres of life, including artistic. This article shows the basic principles of virtual reality formation in the context of creating a space for the manifestation of musical art. The basic principles of perception of new artistic media in virtualization and digitalization are defined, and aspects of musical art reproduction are analyzed. This study shows the transformation of real life into virtual simple, which contributes to the spatio-temporal thinking of man and interprets the cultural achievements of human activity throughout the historical development. The article presents theoretical and methodological approaches to the analysis of musical art. The reflexion of the temporal phenomenon of cultural stratification and in-depth analysis of modern digital transformation in the context of virtual space formation is defined. Music discourse is analyzed in the context of cultural dynamics in the direction of the virtual world creation. The methods of analysis and synthesis, the research method and the method of discourse analysis were applied to study the virtualization of the musical environment. This study provided a basis for reflecting the effectiveness of the virtual environment for music art.

Mimari Tasarımda Cephe Kurulumunda Geçirgenlik Üzerine Bir Araştırma: Tektonik ve Yüzey

The concept of transparency in architectural design has been on the agenda since the 20th century in interdisciplinary approaches as well as its literal meaning. The article starts with the structural tectonic origins of architecture and makes an intellectual, perceptual, and historical questioning of the covering and façade/surface forming elements with the concept of permeability. The tectonic, realistic, and phenomenal, imaginary perception of the façade is evaluated in the fields of cultural meaning, visual communication, visualization, and aesthetics from the modern architectural movement to the present day. Thresholds and levels are determined in the historical background. Through the material construction of the Facade/Surface and its intangible artistic perception in architecture, the relationship between form and content is opened to strategic discussion.

Project activities in music lessons in preschool education

The article considers the issue of implementing project activities in the educational process of preschool education. Today, design penetrates into life phenomena, processes, spheres of society: more and more things are products of conscious human activity and are a unique way to ensure co-creation, cooperation of adults and children. Project activities allow to implement a personality-oriented approach to the upbringing and education of preschool children and promotes the development of their creative abilities, turns them into active participants in all events taking place in preschool education. The aim of the research is to reveal the essence of the concepts of «project», «project activity», as well as the peculiarities of using the method of projects in music lessons in preschool education. Project activity is the most important component of pedagogical activity. This process includes educational systems of different levels, the content of education, pedagogical technologies, management of the pedagogical process, planning and monitoring the development of educational institutions. It is shown that the method of design, a modern method of integration of activities, allows you to solve a set of problems subordinate to one topic, a variety of techniques and methods, gradually and in the system. The method is relevant and effective. It gives the child the opportunity to synthesize the acquired knowledge, develop creative abilities and communication skills. It is noted that project activities allow children to develop research skills and cognitive interest, there is an integration between common ways of solving different problems and activities. Project activities help to connect learning with life, develop communicative and moral qualities. The main task of the educator is to involve the child in the wonderful and beautiful world of music, to develop children's musical and creative abilities, to help through the artistic perception of musical images to understand the connection of musical art with the world, to form moral and aesthetic attitude to it. «Project» management of the music-educational process in the preschool institution contributes to the further improvement of music-educational work with preschool children in the modern education system.

Development of artistic music perception and the ability to convey the content of the performed musical work to the audience

The modern system of professional higher education in the field of academic vocal has rich experience and time-tested traditions. The multi-level complex of vocal education includes not only the development of hearing, musical memory, singing skills, etc. One of the most important tasks for the teacher is the problem of developing the correct artistic perception of music and the ability to convey to the audience the content of the performed musical work, conceived by the author. A modern pedagogue should reveal the potential of future vocalists in the conditions of their professional training in higher educational institutions of our country. Educational standards require a more complete, optimal approach to the learning process, the achievement of unity in the perception and understanding of music, and the assessment of musical works by students.

Artistic Perception of Visual Art Works - Imperative of Art Education

Artistic Perception of Visual Art Works - Imperative of Art Education

Yugoslav Perceptions and Translations of Pop Art during the 1960s

This essay investigates four exhibitions linked to Pop art that took place in former Yugoslavia in the 1960s: Olja Ivanjicki’s Pop Art (1964, Belgrade), New Figuration of the Belgrade Circle (Belgrade, 1966), and the two US-sponsored Pop Art (1966, Zagreb, Belgrade) and The New Vein: The Figure (Belgrade, 1969). The discussion explores the reception of Pop art in socialist Yugoslavia and the ways in which Yugoslav artists deployed the style as a vehicle to address political events, histories, and new phenomena, such as Yugoslavia’s orientation towards a market economy and the development of consumerism as a result of the country’s opening to the West. The essay reveals how the Yugoslav reception of Pop art was bound up with issues of national and political identities, aesthetics, and gender.