Artistic Taste Research Articles

Technologies of Working on Graphic Materials in Fine Arts Classes

This article discuses technology used to develop graphic material in fine arts classes. The purpose of fine arts classes is to teach students to draw on a variety of graphic materials; to teach them to see, comprehend, understand and appreciate the beauties of being and art; to develop aesthetic and artistic taste, to expand the scope of artistic thought; to develop artistic creativity and imagination, to help them find their own style, their own way of creativity.

PHILOSOPHICAL IDEAS IN THE KYRGYZ POETS WORKS

This article is investigating philosophical ideas in the Kyrgyz poet’s works based on theoretical problems of modern philosophical poetry and mastering the centuries-old heritage of the Kyrgyz people. It is known that the philosophical values of Kyrgyz people were formed through ancient time’s folklore, epics, proverbs, and singers’ work taken as a source of philosophical poetry in the modern professional literature. Aims of this research were to consider philosophical lyricism in the Kyrgyz poetry as a complex and contradictory issue from ancient nomadic times to the present days; finding the primary sources of philosophical lyricism; to consider the chosen scene in connection with the poet's philosophical thoughts and views following his artistic taste and worldview. Deep understanding of an artistic nature and philosophical thoughts, values of Kyrgyz poets' works achieved by focusing on their role in the literary process, and artistic values of Kyrgyz poetry, relying on literary and theoretical patterns in the synthesis of philosophical categories and art have been described.

Theoretical and methodological aspects of the development of the future Music teachers’ artistic taste in the process of teaching pop singing

The article is devoted to the scientific development of the problem related to the development of an artistic taste of the future teachers specialised in Musical Art. The purpose of the article is to theoretically and methodologically substantiate the development process of an artistic taste of the future teachers specialised in Musical Art in the process of teaching pop singing. The purpose is realised through the implementation of relevant tasks using the methods of theoretical research: analysis, synthesis, deduction, induction, generalisation and extrapolation. The article considers the category "artistic taste" as a person's ability developed by social practice to evaluate aesthetic phenomena, to distinguish beautiful things from ugly ones. The artistic taste of the future teachers of Musical Art is defined as an individual, socially conditioned system of evaluation of phenomena reflected in works of art, aimed at widening the worldview of an individual. The component structure of the artistic taste of the future teachers specialised in Musical Art consists of four components: personal-motivational, sensory-perceptual, intellectual-interpretive and reflexive-projective. Professional training of the future Music teachers is considered as a platform for the formation of their artistic taste. We find the specifics of training future professionals in pop singing particularly important in the context of the study. The pop variety of vocal music is recognised as the one that provides for effective pedagogical influence; in particular, it is aimed at forming the artistic taste of the younger generation, based on the needs, interests and perception level of most students. A set of scientific approaches is considered as a methodological basis for the formation of the future Music teachers’ artistic taste in the process of teaching them pop singing: axiological, student-centred and holistic approaches. The study also presents pedagogical principles, the implementation of which ensures the formation of the future Music teachers’ artistic taste in the process of teaching them pop singing.

Smell and Taste in Art: Suggestions towards a Systematic Approach

The reflections outlined in this paper on smell and taste in modern and contemporary art are divided into three larger chapters: an introductory literature review is followed by a general discussion of sense perception in terms of philosophy, physiology, and intellectual history; and this forms the backdrop for the main body, in which eight different approaches to olfactory and gustatory art are proposed. These categories take different levels as their starting point: for instance, they illuminate the significance of smell and taste as materialities, they address aspects of the process of perception, they posit questions concerning the affect of smell and taste, they consider spatial and temporal aspects, and they discuss the relation between perception and knowledge. The main body of the paper is concerned with these categories and their respective theoretical background, also providing concrete examples of relevant works of art.

Rupa Gayah dalam Ritual Masyarakat Hindu di Desa Sembung, Mengwi, Badung

<em>Style is a collection of several satays and the bones of animals slaughtered (usually pigs) and then shaped so that they look attractive. In general the form of style can be divided into three namely the style of style, body style and peak style. Alas gayah consists of pig bones arranged like pigs while alive. On the body of the style is composed of several satay namely pengideran satay, satay that symbolizes the Gods Nawa Sanga (nine Gods who control the nine cardinal directions), pengurip-urip satay is satay which shows the amount of urip Dewata Nawa Sanga, and satay decoration is satay which symbolizes the contents of the nine directions of the compass; the world and functioning style decoration. The form of style in each region in Bali varies according to the taste of art and creativity of the maker, but has the same symbol and meaning, which is the symbol of the universe and is meaningful as a neutralizing the negative elements of the Great Bhuwana (nature) and Bhuwana Alit (humans).</em>

Technology and Innovation in Schoolchildren Training: Development of Musical and Acting Skills

Today, the main problem of additional education institutions is comprehensive pre-professional training, allowing students to master the professions of musician, dancer, or actor. In recent decades, there has been a tendency to narrow specialization in teaching children, which is the reason why modern educators seek to improve programs. The purpose of the work is to determine the content and identify innovative teaching technologies, in particular, those related to the development of musical and acting abilities. Study methods include the analysis of modern experience in applying traditional and innovative approaches to develop musical and acting skills and testing the most effective pedagogical technologies of creative development of schoolchildren. The conclusions of the study are related to the fact that the comprehensive development of schoolchildren implies not only the development of basic skills and abilities, but also the formation of artistic taste and musical and acting skills. This is necessary to create artistic images in various types of art, which needs to be taught from early childhood. An important aspect of the study is the belief that comprehensive pre-professional training of students allows one to reveal all aspects of the child's personality and determine the direction of their future professional path. Basic musical and acting skills necessary for many areas of professional activity are easily acquired in childhood due to the psychophysiological characteristics of students. Thus, the problem of the development of musical and acting skills in schoolchildren, which requires innovative approaches and modern pedagogical technologies, is actualized.

ФОРМУВАННЯ МУЗИЧНО-ВИКОНАВСЬКОГО ДОСВІДУ СТУДЕНТА ЯК ПЕДАГОГІЧНА ПРОБЛЕМА

The purpose of this one article is analysis the pedagogical aspects of forming a student’s music performing experience in the process of his professional preparation. The article analyzes the category of experience; identifies the types of experience that have become the subject of scientific research in the field of art pedagogy; shows scientific data in philosophy, psychology and music pedagogy as a base for formation of a music performing experience; considers the phenomenon of music performing experience in the context of professional training of the future teacher of music art and substantiates its significance for the future music-pedagogical activity. Priority of instrumental and performing disciplines in forming of music performing experience and their orientation on mastering different types of music performing practice (vocal, instrumental, conducting) in the article are determined. The prerequisites for forming a music performing experience of a future music art teacher in the course of teaching (such as: development of analytical thinking and motivation for music performance activity; systematic replenishment of musical repertoire; disclosure of individual and personal qualities; accumulation of musical impressions and concert practice, etc.) are substantiated. The content of musical performing experience of the future teacher of musical art is formulated, which includes: skills of reading notes from a letter and transposition; ability to play in an ensemble and accompany; formation of performing technique, which allows you to freely own the instrument, voice, conductor’s gesture; confidence, artistic taste, artistry, psychological readiness for public performance of musical works; ability toembody an artistic image, etc. It is emphasized that this problem is of great practical importance, so its solution should be the focus of the teacher. Necessity of purposeful pedagogical management of the process of formation of music-performing experience of the student and the orientation of educational practice on the effectiveness of professional training are declared.

Artistic Taste-Making at the Sharjah Biennial

This poster investigates the role that the Sharjah Biennial (SB), an international art showcase in the United Arab Emirates, plays in the development of a local artistic and cultural taste. It argues that the SB contributes to the molding of local aesthetic values through its selection of curatorial themes, artists, artworks, and, especially, venues. Using field visits, interviews, and archival research informed by sociological and anthropological theories on aesthetics, the author shows that organizers of public art exhibitions and programs are in a key position to shape the art to which people are exposed and how this, in turn, creates a public valuation of aesthetics. This project fills a gap in contemporary biennial literature by shedding light on the pivotal roles of art events in shaping societal aesthetic values.

THE EFFECT OF THE EGYPTIAN ENVIRONMENT AND CULTURE ON REVIVING THE PLASTIC ART HERITAGE AND SUFI MUSIC AS AN APPROACH TO DEVELOPMENT OF ARTS APPRECIATION (CRITICAL ANALYTICAL STUDY)

There is no doubt that the Egyptian environment and culture have a prominent and clear role in many arts in general The plastic art and mystical music in particular, they are rapidly spreading and have a positive impact on the individual, as well The Egyptian environment and culture have their significance and clear implications for the individual and society, as is plastic art and music They constitute the language of sight and hearing, represent two sides of the same coin, and constitute a reflection of human feelings on things Materialism and its embodiment in a tangible form that the senses perceive, both hearing and vision, as they are two languages that all peoples of the world understand and have Their clear and important influence on most peoples. Hence the idea of researching about the necessity to uncover the impact of the Egyptian environment and culture on reviving heritage Plastic art and Sufi music as an entry point for developing a taste for arts among recipients in general, students and researchers Especially specialized technical colleges.

Literati Connoisseurship of Tanci Flower Registers in Late Qing Shanghai

Abstract With the flourishment of tanci 彈詞 performance, flower registers (huapu 花譜) that ranked and catalogued female tanci performers began to emerge in late Qing Shanghai. In this article, I treat the writing of flower registers as an act of collecting—a cultural practice of gathering, selecting, and publicizing artistic tastes. Focusing exclusively on the shuyu 書寓 entertainers in huapu discourses, I investigate the dynamics between the shuyu entertainers and the huapu writers: how they competed to (re)define the new ideals in beauty, talent, and virtue. Amid the networks of literati connoisseurship, urban legends, and new business models, female tanci performers were active participants of the huapu writing practice, both catering to literati expectations and subtly changing the rules of the game. By examining the various huapu discourses, I aim to gain a more nuanced reading of gender representation in late Qing Shanghai.

Arbiters of taste: Women, modernism and the making of Paris

The years 1870–1960 were a period of vibrant innovation in France when traditional ideas about art and living were challenged. At the turn of the twentieth century, Paris became the epicentre for creative risk, innovation and originality. The city both represented and became a ‘laboratory of culture’ that attracted individuals eager to ride the waves of modernism. What forces enabled Paris to become a site of such artistic vibrancy? What cultural labour was involved in propelling avant-gardism forwards? In this article, I introduce a few examples of women who played a vital role in the modernisation of the arts in Paris, the internationalisation of French artistic tastes, and the cultivation of Paris’s reputation as the centre of avant-gardism and artistic development. In doing so, I offer a new paradigm for understanding the art worlds of Paris in this period by revealing women as important and effective arbiters of taste.

Experimental and Research Verification of the Methodology of Forming the High School Students Artistic Taste for the Vocal Heritage (Late XIX-Early XX Century)

The article highlights the results of research and experimental work on verifying the methodology of forming the artistic taste of high school students in the vocal heritage of Ukrainian composers of the late XIX – early XX centuries. The study purpose was to evaluate the elaborated methodology for the formation of the artistic taste of high school students in the process of studying the vocal heritage of Ukrainian composers. The study was accomplished using the method of paired comparisons that resulted in the scale of the comparative assessments in the control and the experimental group of high school students during the extracurricular activities in Kyiv, Zaporizhia and Dnipropetrovsk regions. The effectiveness of the proposed method was supported by the results of the statistical purposes of processing the experimental data using the χ2-criterion formula. The criteria for monitoring the formation of the high school students’ artistic taste regarding the national heritage of the late XIX-early XX centuries were outlined; the three levels (high, medium, low) of high school students’ artistic taste formation were identified. The effectiveness of the applied methodology was evaluated by the series of tests comparing the results at the ascertaining and forming stages of the study. The authors argue that the data of the forming experiment showed significant positive changes in the levels of formation of high school students’ artistic taste according to all the determined criteria, which testifies to the effectiveness of the developed facilitation methodology. https://doi.org/10.26803/ijlter.19.4.18

Exploration on the application of 3D printing and dyeing patterns in modern clothing visual communication design

3D printing and dyeing is a widely used pattern processing mode in the new era, which can adapt to the design requirements of visual communication and effectively enhance the aesthetic art taste and fashion of modern clothing. Based on the status quo, firstly, the characteristics of digital printing and dyeing technology are discussed. Secondly, the choice of the visual design of modern clothing is discussed. Finally, the application of 3D printing and dyeing patterns in the visual communication design of modern clothing is expounded. It can effectively improve the overall application level of visual communication design and lay a solid foundation for the progress and development of the fashion design industry.

La enseñanza del dibujo y la formación para el trabajo en los inicios del sistema educativo nacional argentino

En este artículo se analizan los orígenes de la educación artística escolar en el sistema educativo nacional de Argentina a fines del siglo diecinueve. Contrariamente a la mirada tradicional que percibía sus contenidos como limitados e instrumentales, sin puntos en común con el hacer de los artistas, sostenemos que es posible efectuar otra lectura de ese momento de génesis. Si indagamos las acciones realizadas y los debates que circularon por entonces sobre el arte en la instrucción elemental, despunta una riqueza que complejiza aquella percepción más restringida. Emergen asimismo conexiones con el proyecto de los artistas coetáneos, empeñados en la formación de un público de arte y en la educación del gusto artístico, entre otros intereses. En esta dirección, la primera parte efectúa un paneo historiográfico de la instrucción pública, el modelo pedagógico imperante, las corrientes sobre educación del niño y los debates sobre utilitarismo y humanismo a fin de analizar la inserción del Dibujo en el sistema educativo finisecular. En un segundo apartado se estudian los objetivos iniciales de la materia, sus programas y su conexión con la formación de los sectores populares de la sociedad a partir de su derivación hacia aplicaciones industriales. En secciones siguientes se indaga, en tensión con la orientación aplicada del dibujo, la postura de Domingo Faustino Sarmiento.

CULTURAL REPRESENTATION OF POWER AND THE COURT DURING THE PERSONAL REIGN OF CHARLES I STUART

The article analyzes the main features of the Caroline era in the history of Britain, which were reflected in the cultural representation of the power of King Charles I Stuart and the court’s daily life in the 1630s. The author shows that, on the one hand, the cult of peace and the greatness of the monarch were the cultural product of the Caroline court against the background of the Thirty Years' War in continental Europe. On the other hand, there was a spread of various forms of escapism, the departure into the world of illusions. On the whole, the representation of the power of Charles Stuart and the court’s daily life were in line with the general trend of the time. At the same time, the court of Charles I reflected his personality. Thinly sensing and even determining the artistic tastes of his era, the English king abstracted from its political and social context.

Монотеатр перед мікрофоном у контексті майстерності актора

Монотеатр перед мікрофоном у контексті майстерності актора

No Comment: Will Prince v. Cariou Alter Copyright Judgess Taste in Art?

Even before Campbell v. Acuff-Rose Music, Inc. made transformativeness the name of the game in fair use law, judges have been in search of artistic speech in their copyright fair use determinations, especially in appropriation art cases. Judges often find themselves ascribing meaning both to the defendant’s work and the plaintiff’s work when comparing the two in order to determine whether defendant’s art is new. So while many commentators attribute appropriation artist Jeff Koons’s victory in Blanch v. Koons after a string of losses to the development in fair use law contributed by Campbell, I instead argue that it has more to do with his change in legal strategy. In Blanch, Koons finally offered the court what it wanted: an “Art History 101” explanation of his work’s meaning — something he was too arrogant to do in previous cases. And the surprise in the Cariou v. Prince case was not the reversal of the restrictive requirement that fair reuses comment on the originals, but was instead the holding that transformative uses need not comment at all. Prince essentially refused to offer the court an explanation of the meaning of his work. As a result, the Second Circuit was hard-pressed to ascribe a meaning to his work that contrasted with Cariou’s. Instead, the court focused on objective differences between the works (size/color/materials) and a visibly different aesthetic (serene/natural beauty versus crude/jarring/hectic/apocalyptic). Thus, the “newness” that the transformative use test demands can be gleaned by the “reasonable observer” without any reference to the artist’s intentions. As a result, the provocateurs of the art world will not have to dumb-down their art as Koons did in Blanch. Judge Charles Haight in Rogers v. Koons described Koons’s art as “commenting upon the commonplace.” Not only was the judge clearly unimpressed with Koons, but he was also dismissive of appropriation art. In contrast, the Second Circuit in Prince accepts one of the central tenets of this art form: placing common images in new contexts can change the way we think of them. And we do not need the artist to tell us how.

Genre and style features of creative heritage by Mark Karminskyi: educational and methodological aspects

Genre and style features of creative heritage by Mark Karminskyi: educational and methodological aspects

In search of the lost polychromy of English medieval alabaster panels in the Southwest of France

SummaryPolychrome alabaster carvings, representing religious scenes, constitute England's major contribution to European mediaeval sculpture. During the period between 1350 and 1550, large number of alabaster carvings were produced in the Midlands. Despite their massive destruction during the English Reformation (ca.1534), more than 2500 of them still survive, either legally exported or sold clandestinely to the Continent. With more than 100 panels still existing, the Bordeaux region holds one of the largest concentrations of these reliefs. Most of them have unfortunately lost their medieval polychromy, but 20 can still provide valuable information. They are currently studied in our multidisciplinary research program “ALBATRES” (Polychromie, pigments, perception: les albâtres anglais de la fin du Moyen Âge conservés sur le territoire aquitain. Labex LaScArBx project [2018‐2020]). Focused on the panels' polychromy, the project links art history, archaeometry, optical and 3D engineering, and experimental archeology. The first aim is to obtain complete information on the materials and techniques used by medieval painters. The second consists in studying the functions of polychromy and its perception, by determining and interpreting the selection criteria and aesthetic uses of colors and gilding. The polychrome remains of the Aquitaine corpus are studied by means of visual examination, macrophotographic documentation, and noninvasive portable spectroscopic analyses (reflectance spectroscopy by fiber optics in visible and infrared ranges, fluorimetry, etc.). They reveal, among others, the presence of cinnabar, red lead, red ochre, copper green pigments, yellow ochre, gold, lead white, and others. The results allow the production of model samples to help understand the medieval color organization before proposing the coloring of a real copy of one of the studied panels (Virgin's Assumption, Musée d'Aquitaine, Bordeaux). The shape and the appearance of the color rendering could be improved thanks to a special device built at the IOGS to develop a shader that approximates as closely as possible the appearance of the panels. Finally, all information will be integrated on 3D model panels for better appreciation of the carvings and the artistic taste of medieval spectators.

Музей в процессе формирования ценностного восприятия произведений искусства

The study examines the influence of the art museums practice on the perception of visitors, in particular – on the formation of artistic tastes of a museum audience. The art museum is analyzed taking into account its development at the intersection of the value dominants of mass and elite cultures. As a result, it was revealed that the adaptation of museums to a “new visitor-consumer” is an institutionally significant problem: maintaining the high institutional status of the art museum, abandoning the policy of simplification serves as a factor in organizing the axiological dominants of modern culture, necessary to overcome a number of its crisis phenomena. A high degree of responsibility of the museum professional community is enshrined in the ICOM Code of Ethics for Museums, the provisions of which prove that the reduction of deep meanings, simplified schemes, algorithms, and ready-made answers characteristic of popular culture do not meet the challenges of the times.