Works Of Art Research Articles

AESTHETIC CONCEPT OF BORIS DYSHLENKO

The article examines the aesthetic ideas of Boris Dyshlenko that shape his approach to text and his authorial poetics. Boris Dyshlenko’s essays, speeches and interviews are analysed with using works of art from different periods of his career to illustrate theses. The article characterises the connection between Boris Dyshlenko’s conceptual principles and general humanitarian tendencies of the last quarter of the 20th century; we define the range of aesthetic and ideological influences, including the inner circle of influences (taking into account the long-term intellectual cocreation of Boris Dyshlenko with his elder brother Yuriy Dyshlenko), and we identify a set of aesthetic concepts that allow us describing Boris Dyshlenko’s specific writing methodology (threshold optics, pictorial/plastic thinking, “image of image”, grammar and morphology of image, ornamentality, suspense, reader tension). The conclusion is made about the formation by Boris Dyshlenko of an aesthetically homogeneous supertext, based on the ideas of “capturing the becoming object” as the main task of the text; “threshold” as a narrative principle of text organisation; “image of image” as a mechanism for creating text space.

Architecture of the church of St. Joseph in Zabrze by Dominikus Böhm – historicism with the announcement of modernism and liturgical renewal

The article presents the church of St. Joseph in Zabrze by Dominikus Böhm as an architecturally unique object from the first half of the 20th century. When describing the spatial arrangement of the temple defined in the appropriate language of artistic and symbolic expression, the historicist element is emphasized as being of primary importance over the modernist one in the construction of the sacral arrangement. Consequently, preservation of the authentic historicizing content, after the post-conciliar changes in the liturgical arrangement of the interior in the second half of the 20th century, proves the originality of the concept of St. Joseph’s church, inspired by Romanesque, Gothic and even ancient Rome architecture. Simultaneously-introduced modernism refines the above content, which is related to a real return to the sources of early Christian thought. All this corresponds to the work of Dominikus Böhm. The universality of his architecture, after years of pre-conciliar use, responds well to the changes in the liturgical renewal of Vatican II. The sensitivity of the interior of the church in Zabrze to liturgical and cultural changes proves a high quality of his artistic work.

Thou Shalt Not Conduct Research on Software? Text and Data Mining of Computer Programs in the Current EU Copyright Framework

Abstract The proliferation of generative AI has steered the discussion about text and data mining (TDM) in copyright law towards the problem of generative models. However, generative AI is not the only case for TDM. Mining data from computer programs can improve defect detection, discover design patterns, facilitate maintenance, summarize code in natural language or identify security vulnerabilities. The potential of such research, and the risk of skewing its results due to inadequate data justifies a venture into the scope of permitted TDM activities in relation to software. This article explores the intersection of TDM and the protection of computer programs in EU copyright law, focusing on the reproduction and alteration rights under the Software Directive. It argues that although among the new TDM exceptions and limitations in the Directive on Copyright in the Digital Single Market only the general one explicitly mentions computer programs, the research exception can also be applied if implemented carefully. This article also shows that computer programs can be reproduced in a way relevant to copyright law during TDM activities aimed at extracting data from traditional literary or artistic works. It offers an interpretation of Art. 5(1) of the Software Directive that prevents the misusing of copyright to thwart TDM in such scenarios. Finally, it analyses the diverging implementation strategies of TDM provisions adopted by EU Member States in the context of computer programs. By examining these issues, this article aims to clarify the scope of permissible TDM activities and advocate for policies that support research.

Nested compressive sensing for ECG signals using novel hybrid two-level approach of DWT and DCT sensing and sparsification

This paper demonstrates the merits of nested Compressive Sensing (CS) approach for Electrocardiogram (ECG) signals using discrete wavelet transform (DWT) and discrete cosine transform (DCT) as sensing matrix and sparsifying matrix. The implementation of CS framework is done using Gradient Projection for Sparse Reconstruction (GPSR). It is tested on 9 ECG signals of different arrhythmia categories obtained from MITBIH and BIDMC dataset. It is analysed for 3 different combinations, case (1) DCT sensing and DWT sparsification, case (2) DWT sensing and DCT sparsification and case (3) DWT sensing and DWT sparsification. A novel hybrid nested CS approach is proposed as case (4) which is a combination of case (2) in higher level and case (1) in lower level. This nested method yields the best PRD of 1.39 for CR = 0.2 and performs better than all proposed cases. This proposed approach involves a fair method of discarding the measurements in all frequency band and performs better than the state of the art work when the sampling rate is reduced by 4 times for ECG signal 100.dat from MIT-BIH (Massachusetts Institute of Technology-Beth Israel Hospital) database for CR = 0.2. It is shown that the reconstruction time of the proposed nested CS approach is lesser than non-nested CS approach.

Differentiating between Iconic Mindbombs and Incongruous Mindbombs Using Pentadic Ratios in the Defacing of Priceless Art in Environmental Activism

This essay applies environmental activist Robert Hunter’s conception of mindbombs to recent environmental activists throwing tomato soup, throwing mashed potatoes, and smearing paint on Van Gogh’s, Monet’s, and Degas’s works of art. Hunter’s mindbombs align with Hariman’s and Lucaites’s (2003; 2007; 2016; 2018) iconic photography while the defacing of priceless works of art adhere to Burke’s (1954) grotesque perspective by incongruity. In turn, iconic mindbombs relied on Burke’s (1969a) scene-purpose pentadic ratio, while incongruous mindbombs rely on Burke’s scene-act pentadic ratio. 

Philosophy of art as the meeting point of philosophy and painting: the case of Leonardo da Vinci’s Mona Lisa

Renaissance philosophical thought is generally characterised as anthropocentric. During this period, a new sense of identity emerged; pride and self-assertion and an awareness of one’s own power became distinctive. At the same time, the arts were becoming increasingly important, leading to a cult of beauty, harmony and human creativity. The most famous example of this flowering of individual creative activity in the arts is Leonardo da Vinci’s Mona Lisa, which despite many interpretations remains one of the most mysterious and inscrutable works of art. This article attempts to trace the correlation between the Mona Lisa’s portrait image and the philosophical ideas of the Renaissance. It is not a secret that painting in general contains a certain attitude to its corresponding reality. Moreover, pictorial art tends to represent the philosophical ideas of its time. It conveys them in its own artistic way, rather than in verbal forms. This means that to comprehend things and concepts, we can interpret messages not only written down on paper, but painted on canvas. This philosophical approach to painting highlights the coincidence of ideas in philosophy and art. It is also an example of synchronicity: two completely different fields, although not overlapping in methodology and form of expression, nevertheless seeming to illuminate one another. In addition, this view can suggest a plausible and fruitful philosophical way of thinking about art.

Hello! I’ve Been Here the Whole Time: When non-cochlear sound art meets disability aesthetics

Seth Kim Cohen’s notion of non-cochlear sound art explores the idea of more-than-music, reframing sonic listening, shifting away from the aesthetic and towards the conceptual, reducing ‘the value of sonic pleasure in favor of a broader set of philosophical, social, political, and historical concerns’. While this notion holds academic and artistic merit, it does not acknowledge similar explorations in sound art within disabled and d/Deaf communities and developments within disability aesthetics. Works within the disability arts that fit into Kim-Cohen’s non-cochlear sound art were created prior to the publication of his 2009 text In the Blink of an Ear: Toward a Non-Cochlear Sound Art and have continued to develop since. This article discusses Kim-Cohen’s non-cochlear sound and asks the reader to view it alongside discussions of disability aesthetics and sound art works by Hard of Hearing (HoH) and d/Deaf artists. In doing so, it illustrates how disability art and aesthetics are inherently conceptual and sociopolitical and have not only been forgotten in discussion of non-cochlear sound art, but have also carved their own path.

Not Your Typical Oriental Carpet

This article examines contemporary Turkish German artist Nevin Aladağ’s carpet collages Wind (2019) and Skylight Spring (2021) in relation to the iconic window designs of American Midwestern architect Frank Lloyd Wright. By cutting up and conjoining pieces of distinctly patterned carpets from around the world, Aladağ plays with the trope of the Oriental carpet and Orientalism’s hierarchical ordering system. Her collagistic compositions, which incorporate stylistic elements of Wright’s design practice, link disparate patterns, times, and places. Building on Wright’s own understanding of windows as light screens that connect inside and outside, Dickinson reads Aladağ’s collages as powerful heterotopias that cut across multiple other boundaries. Upending the scopic regime of Orientalism, they challenge distinctions between Orient/Occident and traditional/modern, while encouraging the viewer to rethink the power of her own gaze and personal associations with the work of art.

Müasir Azərbaycan İctimai-Fəlsəfi Fikir Tarixində Əli Bəy Hüseynzadənin Yeri və Rolu

Ali Bey Huseynzade, one of the prominent representatives of Azerbaijan's literary, cultural, social-political, and philosophical thought in the 20th century, was the first publisher of the political-Turkism movement in Azerbaijan. He was a distinguished political figure, talented scientist, thinker, and publicist, and holds a unique place in the history of the Azerbaijani people. Over time, there is an increasing need to deeply comprehend and study the magnificent artistic works created by Ali Bey Huseynzade. Throughout his life, Huseynzade dedicated his prolific writing to the research and promotion of pan-Turkish spiritual values, fighting with all the strength of his brilliant talent for the progress of the Turkic people. He played an important role in the formation of the theoretical-philosophical foundations of the Azerbaijani national idea, striving for reforms in public and cultural life and artistic consciousness through his rich creative output. With his famous "Threefold Formula"-"Turkification, Islamization, Modernization" - he contributed to the formation of the ideology of Azerbaijanism. He advocated for the necessity of abandoning sectarian divisions and uniting all Muslims under the umbrella of a single religion-Islam. In his article titled "What is Young Turkism?", he explained the essence of the Turkish reform movement and expressed his views in many articles published in newspapers and magazines, arguing that Ottoman Turkish should become the common language of all Turks. Having spent more than 30 years of his life in exile, Ali Bey’s complex and turbulent life path was marked by political and cultural struggles aimed at the unity and wholeness of the Turkic world. The article emphasizes the significance of national-democratic values, highly relevant today, and their reflection in Azerbaijani philosophy and social-political thought. It also highlights the necessity of the establishment of the Azerbaijan Democratic Republic as the first historical embodiment of the national-democratic statehood ideology, which began in the early 20th century. Ali Bey Huseynzade’s multifaceted activities and his intellectual contributions, not only for Azerbaijani Turks but for the entire Turkic world, affirm the relevance of the subject as he remains a valuable thinker on a broader scale.

Proto-Nasca Iconography: The Harris Drum and the Gothenburg Ceremonial Staff

The Necropolis Era of the south coast of Peru was a period of artistic flourishing; one of these traditions—Proto-Nasca—was the most prolific and beautifully executed of all its contemporaries. Two works of art stand out for their craftsmanship and originality: the Harris Drum and the Gothenburg Ceremonial Staff—both iconographically complex—both produced in distinct media. Reproducing the artwork portrayed on the incised ceramic drum and the wooden staff wrapped in leather provides an intimate glimpse into the iconography not seen through the lens of photography. Dual artistic visions, overlapping art styles, and the distinctive Head Taster motif are revealed.

From Strangers to Sun Bleached Flies: A Speech Act Analysis in Ethel Cain’s Lyrics

This research aims to explore the use of speech acts in Ethel Cain's Strangers and Sun Bleached Flies from her acclaimed album Preacher's Daughter. This study employs a descriptive qualitative research design that focuses on the analysis of Searle's speech act classification—declaratives, representatives, directives, expressives, and commissives—to uncover how Cain conveys complex emotional narratives related to trauma, identity, and familial relationships. This research uses library research to collect data from the lyrics of two of Ethel Cain’s selected songs, Strangers and Sun Bleached Flies. The data analysis process aligns with typical approaches in speech act analysis within linguistics, particularly in contexts where John Searle's taxonomy is applied to literary or artistic works like song lyrics. The findings reveal that speech acts are very useful for deciphering the complex meaning of music lyrics and suggest that Cain's nuanced use of language not only enhances the emotional depth of her music but also invites listeners to engage with themes of vulnerability and resilience. This study contributes to a deeper understanding of contemporary songwriting as a form of expressive communication.

The Work of Art in the Age of Mechanical Reproduction After Ninety Years. An Essay

The purpose of this essay is a reassessment of a problem posed almost 90 years ago, but which marked the modernism and postmodernism of the 20th and later the 21st centuries and which is still current. The aesthetic and historical research was carried out mainly through the prism of the art installation, the main element of my PhD thesis. This essay includes a critique of Walter Benjamin’ Marxist approach – in the system versus outside the system and the attempt of finding explanations of sociological and cultural phenomena under an ideological paradigm. The approach through the prism of Marxist ideology I consider it narrows the perspective of the problem addressed in ‚The Work of Art in the Age of Mechanical Reproduction’2. The dissemination of art through mechanical reproduction actually follows a law of the market and which, applied in the cultural field, involves increasing the target group and decreasing the level of value. Its implementation had produced a cultural mutation. The exception is made by cinematography, which appeared and evolved precisely from the modality of mechanical reproduction. The avant-garde promotes a destructuring tendency by challenging old artistic forms. This tendency of exceeding the limits was consonant with the atmosphere of radicalism and intolerance present in the interwar society, it led to the emergence and antagonism of ideological systems, culminating in the outbreak of the Second World War. The idea of mechanical reproduction of the work of art began simultaneously with the culture of mass production. The mechanical reproduction of the work of art later turned into digital reproduction, with a much increased degree of accessibility, and the mutual mirroring between the mode of production and culture was to rise to another level, that of artificial intelligence.

“We Need to Live the World that is Possible”: Prefigurative Justice, Creative Collaboration, and the Activism of Rita Wong

Although many writers and scholars struggle to cross the threshold between literary expressive culture and activism, poet Rita Wong has fostered and bridged both collaborative artistic and direct-action social justice work. Wong’s collaborations with Dorothy Christian, Larissa Lai, Cindy Mochizuki, and Fred Wah illuminate the promise of creative practice in confronting racial capitalism and climate destruction. This essay draws from the social movement theory of prefigurative politics, routed through abolition feminism and Indigenous place-based epistemology, to account for ethical consistencies between Wong’s poetics, collaborative artistic practice, and direct-action interventions. Prefigurative politics conveys “the embodiment, within the ongoing political practice of a movement, of those forms of social relations, decision-making, culture, and human experience that are the ultimate goal” (Boggs, 1977, p. 100). Wong’s work focuses on “Reckoning” at the pivot point of climate destruction: she writes, “our common survival depends on our collective ability to address the environmental devastation that has accelerated in this century, a devastation that will not end unless we learn to live by values that manifest and respect Indigenous relationships to the land and waters” (Wong, 2012, p. 535). Her scholarship and collaborative poetic engagements have attended to “Repairing” with words, performance, bodily engagement, and crafting a paradigm shift in alliance with human and nonhuman others, thinking with and through water. And Wong “Reworlds” through experimental and imaginative building of new relations, telling new stories. In keeping with prefigurative social movement practice, she and her collaborators act as if that new world has already arrived.

Суицидальная депрессия женщин в искусстве и науке. Глава III: Бремя характера

Based on works of art, the features of "literary" and / or "female" suicides are identified in a broad cultural historical and philosophical context from the standpoint of genre and narratology. The qualitative analysis is based on cultural-historical, comparative, biographical, typological methods, and the method of literary hermeneutics. The article reveals the image of death in the representation of femininity and reflection in the system of relations "life - death" (thanatological image) with clarification of the aesthetic relationship of art and reality. Keywords: women, qualitative analysis, story, suicidal behavior, personality, burden

Street Art and the Arab Spring: The Passage from Revolution to Institution

In few decades, street art has succeeded in migrating from the hidden undergrounds to the open streets. Shortly after the Arab uprisings in 2011, street art has proliferated in almost all the Arab countries. Each country used it for its own purpose, producing works of art that are unique to the place where they were produced. This article traces the evolution of street art during and after the Arab Spring. Drawing from social theory, it discusses the context that catalysed the emergence of some Arab street art experiences and the dynamics that interplayed, strongly marking the artistic scene during and after the Arab Spring. The article is a prelude to further research conducted on the street art scene in the MENA region.

Assessing Engineering Art Heritage: Historical Lifting Devices in Poland

ABSTRACT Technical heritage, such as machinery, requires a different perspective than traditionally understood works of art. To protect the most valuable of them, heritage conservation offices need to find an answer to questions such as which ones should be protected, why these precisely, and to what extent? A procedure designed to assist heritage conservation authorities in making informed decisions and which serves to rationalize the conservation decision is the valuation of monuments. The analysis of the methods presented in the literature shows that there is still a need to address the issues related to engineering heritage, particularly devices, machines, and vehicles, whose conservation should encompass operational methods and operational properties. The research here aimed to develop the method of valuing historical lifting equipment, objectivize the assessment of heritage value represented by the examined devices, and research the possibility of their universalization to protect the heritage of engineering art.

ONEIRIC SPACE AND PROBLEMS OF ARTISTIC MODELING OF BRUNO SCHULZ

Leading Schulz scholars rightly note that despite numerous studies of Schulz’s discourse, some as- pects remain understudied. This primarily concerns the oneiric space, its role, and peculiarities of function- ing in the structure of Schulz’s texts. The purpose of the article is to determine the peculiarities of the onei- ric discourse of Bruno Schulz’s prose in the context of representation of the imagination, the embodiment of metaphorical imagery in the motive structure of the works of fiction, the correlation of dream and real- ity, ideal and reality. This is facilitated by psychoanalytic oneirological theories, as well as materials from the latest oneirological literary studies. The research has been carried out based on a hermeneutic ap- proach with the involvement of phenomenological, psychological (partially – psychoanalysis), biographi-– psychoanalysis), biographi- psychoanalysis), biographi- cal, descriptive, and intertextual methods. Throughout the study, several initial tasks been solved, investi- gated, and clarified. The main peculiarities of the (mutual)influence have been identified and the points of contact and intersection between the components of the correlation of the work of Z. Freud and C.-G. Jung (the queen of psychoanalysis) works of art and literary texts (oneiric discourse) have been characterized accordingly. In the historiographical aspect, the problem of oneirism has been analyzed both in modern literary studies and concerning the creative work of Bruno Schulz. Aspects of oneiric studies of the Schulz direction have been singled out, which need to be deepened or reinterpreted in a certain way. The onei- ric space of Schulz’s prose works has been characterized through the prism of the concepts of dream, vi- sion, and labyrinth as the main system-forming concepts of this space, with emphasis on the main struc- tural and semantic features of the outlined categories. The oneiric discourse of individual literary-critical and epistolary works by Bruno Schulz has been considered. Associativity, a large number of symbols, unre- ality, the marking of dreams with certain signals, the (non)presence of a sequence of events, incomplete- ness, brokenness, schematicity, fragmentation, spatiotemporal mosaicism, etc., have been recognized as typical features of the oneiric events of Schulz’s prose, which is confirmed through numerous illustrations from Schulz’s works of art.

The Rise and Diversity of Women's Art: A Study on Self-Expression in Art

In the middle of the 20th century, with the rise of the feminist movement and the continuous development of society, feminism gradually received attention. The artistic creation associated with it also developed, and people noticed the value of it. The status of female artists is gradually rising. The art is gradually diversifying. In this field of artistic creation, female artists have finally gained a place in the field of art according to their own research and efforts. According to their own unique aesthetic value and emotion, female artists give play to their unique artistic talent, breaking the inertia of male dominance in traditional art, and showing the creativity of female art. Through the introduction of the development of women's art from the 1960s to the present, this paper analyzes the characteristics and styles of women's art in different historical periods through the self-expression in women's art works and the maternal image in women's art works. Furthermore, it concludes the differences between them and male creators in art, so as to judge the new direction of contemporary female art to be developed.

THE DYNAMICS OF SEMANTICS AND SYMBOLS IN ART HISTORY: A PHILOSOPHICAL AND AES- THETIC PERSPECTIVE

Intentionality in human consciousness and activity necessitates the creation of messages for one- self and others, forming and transforming meanings that drive a unique dynamic in world understanding through associated symbols. The aim of this study is to identify the peculiarities of interpreting the mean- ings of symbols as represented in artistic thought through works of art and literature. To achieve this goal, hermeneutic and philosophical-aesthetic research methods were employed. The article examines the historical dynamics of meanings and symbols within various domains of ar- tistic culture. To this end, the nature of understanding the world through symbols and their meanings is de- fined, based on a generalized paradigm of approaches to the issue. In particular, the classification of mean- ings and symbols proposed by G. Frege and Y. Lotman is utilized, along with the characterization of the process of evaluating meanings through the content of objects and phenomena, their evaluation as sym- bols by E. Husserl and F. de Saussure, and the methodology for forming meanings based on the ideas of N. Chomsky and others, grounded in the identification of the characteristic features of the development of art through artistic thought. The potential for the self-realization of beauty through symbols in applied aspects of art, including painting and literature, is also considered. Additionally, the relationship between meaning and symbol in the concept of the beloved’s beauty in Eastern literature is analyzed. Conclusions are drawn that the dynamics of the evolution of art forms, genres, and directions are re- flected in the symbolic representation of meanings. For example, in painting, this is reflected in changes in the nature of the material used, its application, and the development from depicting the human figure to nature (together or separately), followed by the abstraction of images while preserving content in a sym- bolic form. The symbolic systems of each direction in painting differ from one another precisely in the na- ture of abstraction and the artistic embodiment of meaning. In terms of the potential for symbolization and the embodiment of meanings, the conventionality of signs in painting and literature rivals the symbolic sys- tem of language. The analysis of a specific concept, particularly the beauty of the beloved in Eastern litera- ture, revealed a close connection between the choice of symbol and the social environment, as well as the poet’s perception, meaning the aesthetic significance of this concept is supplemented by certain values re- flecting the social norms of a specific period. Furthermore, as we approach modern times, the influence of “icons” expressing many aspects of life becomes more pronounced, which also affects the nature of the de- piction of the qualities of the concept under consideration.

A theory of the symbolic role of disarmament during peace processes: The laying down of FARC-EP’s weapons in Colombia

Disarmament of non-state groups during peace processes is rarely comprehensive and weapons usually continue to circulate. Nevertheless, disarmament is a normal component of final peace agreements and its modalities are often intensely negotiated by all parties. We unpack the puzzle of why disarmament is seemingly both crucial and not completed by building a novel theory of its role as a symbol of the transformation from war to peace. In doing so, we build upon findings from conflict studies, social psychology, anthropology, and feminist research in order to explore what weapons and disarmament mean for combatants, their armed group, and communities impacted by conflict. We posit that after joining an armed group combatants are socially fused through ritual behavior which often features weapons, and disarmament functions as a symbolic inversion process in which the weapon is transformed into a symbol of peace. This inversion process is observable through language and acts, such as public destruction of arms or turning weapons into works of art. We empirically illustrate our propositions by examining the case of FARC-EP’s 2016–2017 disarmament in Colombia. Our theoretical framework pushes existing academic boundaries of war-to-peace transitions in general, and research on disarmament, demobilization, and reintegration in particular.