Artistic Sense Research Articles

Edoardo Tresoldi and the heteronomy of architecture

Edoardo Tresoldi and the heteronomy of architecture

A Mamluk Heraldry and Polo-Stick Rank in Iran in Political and Artistic Sense

Ortaçağ Ortadoğu için büyük devinimlerin yaşandığı bir zaman dilimidir. İttifakların, askeri ve toplumsal hareketlerin, hükümdarların, devlet adamlarının ve komutanların önemli olduğu bu çağda çok sayıda savaş meydana gelmiştir. Bir Türk devleti olan Memlüklü ve Moğolların kurduğu İlhanlı yönetimleri dönemlerinin büyük güçleridir. Bu devletlerde birçok şahıs önemi bakımından tarih sahnesine çıkmıştır. Bu kişilerden biri Emir Şemseddin Karasungur El Çevgândar’dır. Karasungur, Memlüklü yönetiminde saltanat naibliği, Hama, Halep ve Şam valiliği yapmış önemli bir devlet adamıdır. Karasungur muhteris ve politik yönü ile Memlüklü ve İlhanlı devletlerinin siyasi mücadelelerinde sıklıkla rol oynamış birisidir. Karasungur’un en önemli olayı 1312’de İlhanlılara ilticasıdır. Karasungur 1328’de Meraga’da ölmüş ve bu şehirdeki kümbetine gömülmüştür. Karasungur yöneticilik vasfının yanı sıra inşaî faaliyetlerde bulunmuş bânîlik yönü olan biridir. Memlüklü Devletin’de yönetici olduğu zaman Kahire’de medrese, Halep’te kastel ve Meraga’da kendi adına yaptırdığı Kümbet-i Gaffariye vardır. Kahire’de inşa ettirdiği medresenin pencere lentosunda ve mihrap sütünce başlığında çevgân sopası renki bulunmaktadır. Halep’teki kastelin kitabesinin yanında çift çevgân sopası renki yerleştirilmiştir. Kümbetin cephelerinde de çevgândar renki dikkat çekmektedir. Bu renk/arma uygulamasına Mısır, Suriye ve Kudüs’te karşılaşılmaktadır. Kişinin siyasi statüsünü gösteren renkler farklı sanatlarda uygulama alanı bulmuştur. Sultanlar kendi güçlerini temsil eden aslan ve kartal gibi renkler kullanırken emirler ise onları tanımlayan renkleri tercih etmişlerdir. Sâkî-kadeh, davadar-yazı kutusu, silahdar-kılıç, bundukar-yay, bohçacı-bez, çeşnigir-sofra, teberdar-balta ve alemdar-çift bayrak renkini kullanmıştır. Çevgândar ise çevgân sopası renki ile temsil edilmiştir. Yalnızca Memlüklü toplumunda görülen bu arma/renk artık onlardan ayrılan, daha sonra İlhanlı valisi olan Karasungur tarafından Meraga’da da kullanılması siyaset ve sanat ilişkisi içerisinde ilginç bir yaklaşım sunmaktadır.

Talk the Poem: Re-positioning Poetry Recitation as Transformative Pedagogy

Poetry is often perceived by many as the genre of Literature, which is only accessible to specific kinds of individuals, with special artistic sensibilities. As much as we have moved away from formalistic notions of engaging with poetry, the text or written word itself, continues to be treated as an isolated substance, awaiting profound interpretation from those who are gifted with the skills of response. This article explores the importance of offering encounters with poetry which will enable sustainable transformation and growth for both teachers and students. The Talk the Poem (TTP) National Poetry Project was established to provide secondary students from across the island with the space and opportunity to engage with and recite Caribbean and British poetry, through interactive workshops and a national recitation competition. Through a series of critical self-reflective moments, core members of the TTP project attempted to determine the role and scope of the project in the lives of the secondary school teachers and students. This article reports findings on the positive and insightful outcomes of the TTP experience for teacher and student participants, deciphered through document analysis, team discussions, interviews, and surveys.

VẤN ĐỀ BÌNH ĐẲNG GIỚI TRONG TRUYỆN NGẮN CÁC NHÀ VĂN NỮ VIỆT NAM ĐƯƠNG ĐẠI VIẾT VỀ TÌNH YÊU, HÔN NHÂN, GIA ĐÌNH

With the initiative in creative sense and concept of art consistently that writes about love, marriage, family, Vietnamese short stories for female in nowadays, they forcefully confirmed the point of view is equal between men and women. Through the world of art to be created, the powerfull aspects of this have been opened up. The article focuses on clarifying the manifestations of gender equality issues in vietnam short stories with authors are female in nowadays that is one of the social problems - unique aesthetics.

Enriching the design reality on the dress form by using the Khayameya cloth to identify the students' attitude towards sustainable development

The interest in the intellectual heritage of the nation measures the extent of its contribution to human civilization, and its steadfastness in preserving the collective and historical memory of its peoples, and sustainable development is one of the most important modern trends in the development and progress of countries for what it aims for human, economic, social and environmental development.From this standpoint, the research seeks to achieve sustainable development in the field of design and shaping on the mannequin, which is represented in building the creative student "the junior designer" by Growth and development the technical and art work capabilities and skills of the students as they are the human capital of "fashion designers" who contribute effectively to raising production and meeting the current and future needs of the market. Research Queries:What is the possibility of creating designs from Khayameya cloth in the style of design and modelling on the dress form according to the aesthetics of the Khayameya cloth as an authentic heritage material? Did the Khayameya cloth and the way it was implemented on dress form helped build the creative "student", which would contribute to identifying a trend for female students towards sustainable development? What are the opinions of the specialists on the design proposals implemented from the Khayameya cloth, which would reformulate the traditional fabrics in an authentic artistic sense that combines originality and contemporary? What is the possibility of keeping pace with global developments and changing fashion trends by using the traditional Khayameya cloth with an economic outlook?Objectives: Disclosure of more expressive and aesthetic features and values in Khayameya cloth by presenting costumes executed in the style of design and modeling on the dress form with a traditional fabric. Developing the innovative skills in design and modeling on the dress form for students of the fourth year in the Department of Clothes and Weaving in Experimentation and Application. Directing students to transform what is being studied into a consumer product in the local and international market as a positive trend towards sustainable development. Supplying the market with highly skilled and capable fashion designers. Access to contemporary clothing design with a traditional touch at the lowest economic costs. Methodology: The descriptive and analytical approach was used with the application for its relevance to the nature of the research and achieving goals.Results:The results of the research proved that the students ’attitudes towards using the khayameya cloth for designing and shaping on the dress form gave many plastic capabilities and their percentage was (98.7%), which indicates that the dress form design method helped to develop innovative skills in fashion design in the style of dress form design, which It gives the students complete freedom in artistic aesthetic creativity, as they are drawn from an artistic vision by making use of the decorative units of the Khayameya cloth with a modern vision.There are no statistically significant differences between the students ’attitudes towards the use of tents, and that the students’ tendency towards the use of tents is appropriate, i.e. a high level of approval for the use of tents with a rate of (93.45%), which contributes to the creation of new plastic formulations. For traditional fashion, it keeps pace with contemporary fashion trends and is executed with a dress form design and pattern

Pedro Penduko, Filipino Comic Superhero: comparative studies between comic and screen adaptation

This study intended to compare Filipino komiks from its film adaptation. In particular, it explores the form and content in Pedro Penduko (1954) and the film adaptation, Pedro Penduko, Episode II: The Return of the Comeback (2000) using the Formalistic Approach in literary criticism. The study highlights the elements such as characters, symbols, and themes. In brief, the characters in the komiks exemplify Filipino identity. However, the film version provides comic relief. Looking at symbols, the komiks used an amulet common to Filipino culture. The film, on the other hand, showcases a magical promotional vehicle. The theme in the komiks is concerned with issues as noteworthy as identity and culture, while the film spectacles self-interest. It was discovered that the komiks form contributes to a great sense of Filipino art. However, its film adaptation lacks the same qualities. The demand for significant visual outputs come from an audience who hope to see visual arts that are not just profitable works of art but are socially relevant and geared towards the promotion of nationalism

Conversando con… Luis Longhi

<p>Luis Longhi Traverso, catedrático de la Universidad Peruana de Ciencias Aplicadas (UPC) y conferencista internacional, nos recibe una tarde de septiembre a través de videollamada. Estamos ante uno de los arquitectos con mayor proyección del Perú. En las últimas décadas su figura ha sido ampliamente reconocida y sus proyectos le han valido importantes galardones, destacando el Hexágono de Oro 2010, la mayor distinción de la arquitectura peruana. Licenciado por la Universidad Ricardo Palma y con estudios de posgrado en la Universidad de Pennsylvania, trabajó en el estudio de Balkrishna Doshi en Amhedabad (India). En Estados Unidos se desempeñó en las oficinas de Adèle Santos, David Slovic, Gruen Associates y Farrington Design Group, entre otras. En 1994 regresó a Perú para crear la firma <em>Longhi Architects</em>, centrada en realizar arquitecturas con un alto grado de sentido artístico.</p><p><em> </em></p><p>Un ejemplo es la casa donde actualmente reside y desde la que nos recibe virtualmente: la Casa Chullpas (afueras de Lima), cuyas estructuras tubulares se relacionan con los restos arqueológicos incas de las chullpas de Sillustani, en Puno, su lugar de nacimiento. El interior de la casa Chullpas está lleno de esculturas, unas propias, las más abstractas, y otras de cariz precolombino. Las maquetas de cartón y madera nos recuerdan su oficio docente, en tanto los carteles anunciadores de representaciones teatrales hablan de la época en que ejerció como escenógrafo. Entre piedras y el gris hormigón pintado de tonos magentas, amarillos y azules, el <em>Inca Longhi</em>, como le llaman sus amigos, ha pasado este tiempo de confinamiento.</p>

Ukrainian Art of the Totalitarianism Epoch: the Case of the “Zhovten” Association

The present article focuses on the transformation of style and sense of Ukrainian art in the 1930s, in the context of the “Zhovten” Association designers’ creativity. Ideological pressure became determinant in the work of Ukrainian artists. Period of repressions led to decay of art in general, and dramatic reduction in style directions. Industrialization in the USSR, carried out in the 1930s, and measures to accelerate the development of industry were the main themes imposed on artists. Ideologically biased theoretical foundations of the new artistic style typical for the 1930s were clearly manifested in the declaration of the “Zhovten” Association. The ranks of this association, founded in 1930, included some former members of the Association of Revolutionary Art of Ukraine and the Association of Contemporary Artists of Ukraine. The theory spelled out in the declaration of unification was significantly ahead of its practical implementation, the artists themselves gradually switched to new forms and content in their works, without breaking ties with the national and European school. The “Zhovten” Association became a true litmus test of those phenomena that dominated in the art of the Stalin era. At the same time, it crossed out all the achievements of the associations-predecessors, creating a version of the all-Union ideologically engaged associations in Ukraine. A sharp change took place in the artistic environment when the question of form ceased to be a vital topic. The attention was focused on the content of artworks. The ostentatious elated mood of works of art hid the realities of the time like a screen. It camouflaged serious constraint in artistic statements, offering the only “correct” chartered way forward that made it impossible for any artist to make their own graphic statements. A tangible ideological pressure prompted the artists to abandon their creative originality, and strive for maximum realism. They added cliché images to their works: portraits of ideologists, workers, flags, Soviet symbols, and the like. At the same time, the authors lost their creative identities, and their artworks were deprived of any artistic value.

Formation of artistic and aesthetic culture of students in rural social environment

The article deals with a study of the problem of artistic and aesthetic culture formation in students in rural social environment. Presented in the article are the results of an empirical study that reveals the levels of formation of artistic and aesthetic culture in rural schoolchildren. A hypothesis was tested, that the levels and criteria of artistic and aesthetic culture are associated with factors of the rural social environment, such as life and traditions of their village, as well as natural conditions. Students of two schools, rural and urban, took part in the experiment. Different ages of students were represented in the composition of the experimental and control groups. It has been demonstrated that rural social environment has a positive impact on the development of artistic and aesthetic sense, emotional and sensory perception, appreciative attitude to nature and ancestral cultural heritage, as well as on the development of aesthetic norms and preferences. The results of students’ creative work, reflected in decorative and applied activities, are also the indicators of artistic and aesthetic culture formation of students and have a connection with rural society. Artistic and aesthetic culture of students in rural social environment is the result of holistic socio-cultural development.

Між естетикою та ідеологією: компаративні студії прижиттєвої пресової стефаникіани

The article focuses on the two vectors of the reception of Vasyl Stefanyk’s legacy — i. e. the aesthetic and the sociological ones — in the reports published in periodicals during the writer’s lifetime. In our opinion, the article “Old and New in Modern Ukrainian Literature” (1904) by Sofia Rusova pub¬lished in Literaturno-Naukovyi Vistnyk (Literary Scientific Herald) as translated into Ukrainian by Ivan Franko including his commentary served as a kind of a (conditional) starting point. It contrasts V. Stefanyk as a “poet of the contemporary dire plight of the people in Galicia” with his ability to convey characters’ mentality and create a powerful emotional background. The paper traces the further development of these two vectors in the 1920s and 1930s. Artistic criteria were closely related to the political situation: in the periodicals of Western Ukraine and the diaspora, the aesthetic approach usually prevailed; whereas the periodicals of Soviet Ukraine focused on the social aspects. The authors of reviews pointed to the individual artistic sense, art background, familiarity with the way of life and mentality of peasants, sensitivity to human suffering and the utter tragedy in the works by V. Ste¬fanyk. Reviewers also severely criticized interference in the language and censorship of the writer’s short stories in Soviet publications, in particular in 1924. A number of publications are comparative in nature. The authors of literary-critical articles and reviews include Ostap Hrytsay, Bohdan Lepky, Vaclav Morachevsky, Klym Polishchuk, Petko Todorov, Ivan Trush, Lesya Uk¬rainka, and others. Keywords: Ukrainian press of the 20th century, reception of Vasyl Stefanyk, aestheticism and sociologism.

CAD based design for the jewellery industry: A case study

Jewel design is performed for many years and the designers and manufacturers follow a variety of inspirations. Traditionally the designs are generated based on the artistic sense of the creator, while at the same time a number of manufacturing restrictions apply. Nowadays, a series of advanced Computer Aided Design, CAD based tools are available in order to generate impressive concepts. Although, it is possible for designers to interface a CAD system and implement their design digitally, some prefer to use the programming capabilities offered by the CAD software developers. This is the way forward, in order to create unusual geometries for the jewellery industry and at the same time to develop the capability for generating a complete family of geometries that can satisfy even the most demanding customer. In the current paper, the latest approach is presented together with a case study.

Research on Virtual Reality Technology in Public Art Creation

With the continuous update and progress of computer technology, there are more and more display ways in public environment, and many high-tech ways such as virtual reality are also integrated into the display of public environment design. Its interactive, comprehensive and realistic features enhance the artistic sense of the whole design. Public art creation is a kind of diversified art design that includes different disciplines. Its main carrier is the display of environment and culture, which involves a wide range of fields and can better meet the people’s pursuit of sensory stimulation in modern society. Therefore, this paper will make an in-depth analysis of the application of virtual reality technology in public art creation, and briefly describe its design principle and its application mode, in order to provide some valuable opinions for future practice creation.

자연친화적 과학활동이 유아의 창의적 신체표현력 및 공동체 의식에 미치는 영향

본 연구는 자연친화적 과학활동이 유아의 창의적 신체표현력과 공동체 의식에 어떠한 영향을 미치는지 알아보는데 목적이 있다. 연구대상은 G시에 위치한 S유치원의 만 5세 유아 30명으로 실험집단과 비교집단 각각 15명이다. 실험집단에는 매주 3회씩 6주간 자연친화적 과학활동을 실시하였으며, 비교집단은 교사가 실험과 과학개념 위주로 시범을 보여주고 유아가 따라하는 일반적인 과학활동을 실시하였다. 효과를 검증하기 위하여 창의적 신체표현력과 공동체 의식 검사도구를 활용하였으며, 수집된 자료를 분석하고자 공분산분석을 실시하였다. 본 연구결과는 다음과 같다. 첫째, 자연친화적 과학활동을 실시한 유아의 창의적 신체표현력이 유의미하게 향상된 것으로 나타났다. 둘째, 자연친화적 과학활동이 유아의 공동체 의식 향상에 효과가 있는 것으로 나타났다. 이러한 결과는 자연친화적 과학활동이 유아의 창의적 신체표현력 및 공동체 의식에 긍정적인 영향을 가져왔음을 보여준다. 이를 토대로 유아의 창의적 신체표현력과 공동체 의식을 향상시킬 수 있는 방법으로서의 자연친화적 과학활동의 의의에 대해 논하였다.

Supporting relationships, providing presence: Arts-informed approaches to LTC staff dementia care literacy

Early findings and insights are shared from an interpretive analysis of interviews with 15 leaders in arts-based approaches in dementia care. This was conducted as part of a larger project that has the goal of operationalizing ‘good’ literacy in social and relational care in long-term care (LTC). Interviews aimed to identify promising directions in arts-based approaches in education and training for LTC staff provincially, nationally, and internationally, and understand how they contribute to ‘good’ mental health and dementia literacy. Participants were recruited using a purposive snowball sampling method and semi-structured interview guide. Interviews were conducted in-person, via telephone and Zoom, and digitally recorded. Arts-making enhances mental health and dementia literacy of LTC staff by: 1) supporting relationships by generating trust and collaboration among persons living with mental health conditions and/or dementia, arts facilitators, and family members; 2) creating alternative communication spaces that allow people to see themselves and be seen by others from new perspectives; 3) fostering an artistic sensibility that: encourages imagination and empathy, brings spontaneity and playfulness to interactions, and disrupts restrictive expectations entrenched in typical caregiver/care receiver relationships. ‘Good’ literacy involves a relational and spatial awareness which manifests in the form of an artistic sensibility. Arts-based approaches can be used to enhance quality care by capacitating staff in the art of being open and curious, nimble and flexible, in how they know and make connections on an interpersonal level, in the moment.

David Hammons meets Richard Serra downtown

This article was originally presented at a seminar organized by Josephine Berry (2020) around the ideas of milieu and geoaesthetics, derived respectively from Michel Foucault (2009) and Gilles Deleuze and Félix Guattari (1999). In this account of a network of artworks, I will focus on direct reading of a significant conjunction between works by Richard Serra and David Hammons through an understanding of the political economy of New York at an important moment of transition. I develop the understanding of milieu derived from Michel Foucault with Henri Lefebvre’s concepts of the ‘production of space’ (1991) and the ‘reproduction of the relations of production’ (1976), operations by which capitalism survives its crisis of accumulation at a key conjuncture in the 1970s which has direct consequences for the works I discuss. Responding to the initial presentation context for this article, a seminar coordinated by Dr Josephine Berry, geoaesthetics, a concept derived by Berry from ideas of milieu and geoaesthetics, respectively, from Michel Foucault (2009) and Gilles Deleuze and Félix Guattari (1986) is grasped in the sense of art and aesthetics responding to the earth’s (adopting the same prefix as) geology, geography and geometry (ge) by offering a planetary reading of art or experience of art that is entwined with a consciousness of our planet as a totality, and perhaps galvanized by our increasing awareness of it as a finite resource. Geoaesthetics in this context is thought of as an aesthetics, an attempt to understand the experience of artworks in ways that render accessible the conditions of their making and witnessing in terms that are inseparable from the environments and conditions in which they are made and experienced.

The New Edith Wharton Studies

The New Edith Wharton Studies

Comparison Study for Art Centers in Greater Cairo To Achieve Heritage conservation

Art centers Art centers play an important role in building social connections and increasing the artistic sense of community in addition to enhancing peoples' creative skills and developing their analytical and intellectual abilities which lead to success. The vital role of art centers is developing the community traditional culture as well as calling for reviving the spirit of authenticity and preservation of cultural heritage.In Egypt Art Centers are worked asfunctional community centers that focus on supporting arts practice and facilities as art galleries act as museums that reflect many aspects of people’s lives.Educational facilities, workshops, a performing arts theatre, a fine arts library, music library, and dance and drawing studios supporting local communities and cover part of the gap between culture needs and available building and facilities in the city.Cairo’s role as the cultural capital of one of oldest civilizations in the world is reflected in the arts and architecture of all periods. Therefore, the art centers role in Greater Cairo varies to preserve and teach the traditional and new arts. Despite the emergence of museums in Egypt in the early nineteenth century, the establishment of art centers in Egypt in its current form began in the late fifties in the twentieth century. It appeared as new buildings or the reuse of heritage buildings. Its function is to revive and teach different types of art different periods, achieve conservation of identity, Cultural heritage and creating a new artistic value.This study will highlight the complex value of art centers buildings in Cairo with a comparison between its design, roles and methods of development. FromArchitects,Academicians, designers,andstudents point views toward sitting up a methodology for the design and development of arts centers in Greater Cairo.

Thinking into the Bog: Art Practice and Connection from inside a Language under Pressure

Abstract: In this article Ian Joyce and Mathew Staunton explore the interconnected notions of anxiety and contemporary art practice in Ireland by “thinking into the bog” and looking with fresh eyes from inside the Duibheagan, the inky depths at the heart of the natural world and the day-to-day experience of a language under pressure. Via Munch’s scream of nature and its Irish equivalent in the devastating and uncanny creative force unleashed by Uaigneas, they look for artistic sense in the metaphorical, linguistic and physical spaces in and around the bog landscape of County Donegal.

자아 정체성과 예술 감각에 관하여

예술의 세계는 신묘하다. 인간 이성과 감성을 놀랍게 조화시키면서 감성이 이성을 감당할 수 있는 힘 을 키워주기 때문이다. 따라서 예술은 지극히 감성적인 작업과 전달을 감당한다. 인간은 감성적 존재이 기에 예술을 통한 건강한 감성을 함양할 수 있다. 본 연구에서는 예술가들의 자신의 특별한 재능 및 강 점을 이해하고 자아정체성을 분명하게 인지할 수 있음을 전제로 하여 예술적 감각의 중요성을 드러내는 목적을 갖는다. 예술적 감각은 AI(Artificial intelligence)시대에서 예술인들의 자아정체감에 확신을 주고 인간의 고유한 감각기능이다. 따라서 개인의 도덕적 성장, 타인에 긍정적 작용, 사회 및 공동체의 공공질 서 유지를 위해 반드시 필요하다. 인간의 예술적 감각은 긍정성, 회복탄력성, 공공성의 구성요소의 특징 을 갖는다. 이 작용은 우리들의 자율적 주체성 확립과 진정한 자유인다운 삶을 개척할 수 있으며 그러한 삶을 이룩할 수 있는 능동적 삶의 원동력이 된다. 따라서 자신의 정체성 이해와 정체성의 핵심 구성요소 인 성격 및 기질, 재능 및 지능심리를 통한 예술적 감각을 익히고 넓히는 작업이 요구되기 때문에 본 연 구는 예술가의 정체성 확립과 예술 감각을 함양하기 위한 도구로써 필요하다. 본 연구에서는 자아 정체 성을 성격적 요소와 재능 요소의 구성을 살펴보았고, 예술 감각을 자아실현의 긍정심리학적인 긍정적 마 인드 및 긍정성, 심리적 소진의 회복탄력성 및 역경지수, 사회나 국가의 공공선 추구의 공공성의 상호공 생적 요소로 분석하였다. 특히, 무용가 M. Graham을 예술가 사례로 선정하여 그녀의 자아정체성과 예술 감각을 검증하였다. 그녀의 예술 감각과 정체성 분석 사례는 현대예술인들에게 자신을 객관적인 지표로 이해할 수 있는 가능성과 자신의 강점을 예술세계에 적용할 수 있는 시사점을 제공한다. 이에 본 연구에 서는 예술가들의 자신의 특별한 재능 및 강점을 이해하고 자아정체성을 분명하게 인지할 수 있음을 전제 로 하여 예술적 감각의 중요성을 드러내는데 그 목적을 갖는다.

On Seeing Otherwise: Johann Jakob Breitinger’s Poetics of Attention

This article contextualizes Johann Jakob Breitinger’s Critische Dichtkunst (1740) within a transdisciplinary discourse on Aufmerksamkeit (attention) in eighteenth-century epistemology and science. I argue that Breitinger’s adaptation of the epistemology of attention defines his most distinctive poetological concepts, including his notion of poetry as a type of painting (poetische Mahlerey), his elevation of the new (das Neue) and the marvelous (das Wunderbare) into central categories of poetics, and his subversion of the traditional principle of imitation of nature (Nachahmung der Natur). Excavating Breitinger’s revision of poetics on the basis of a representationalist concept of attention recovers the Critische Dichtkunst as an important forerunner of Alexander Baumgarten’s momentous conjunction of artistic production and sense perception in a single discipline of aesthetics. Finally, the article demonstrates the transdisciplinary potency of the concept of attention in the early eighteenth century, well before the late-nineteenth-century rise of empirical psychology highlighted by conventional accounts of the emergence of attention as a key concern of modern culture.