Art World Research Articles

Analysis of the Role of Augmented Reality in Bringing Works of Art to Digital Spaces

Augmented Reality (AR) has become increasingly popular in the art world as a medium for bringing traditional works of art into the digital space. This research aims to analyze the role played by AR technology in the process of transforming works of art from the physical environment into the digital domain. This approach pays attention to the technical aspects, aesthetics and cultural impact of applying AR in digital art exhibitions. This research method involves literature analysis, case studies of various art exhibitions that use AR, and interviews with artists, curators, and exhibition visitors. Qualitative data was analyzed thematically to identify emerging patterns and trends in the use of AR in artistic contexts. The research results show that AR has great potential to enrich the visitor experience in digital art exhibitions by providing interactive and contextual layers that cannot be accessed through conventional mediums. Additionally, AR can also act as a tool to convey additional narratives, broaden the interpretation of works of art, and increase visitor participation in the creative process. The research also identified several technical and conceptual challenges associated with the use of AR in art, including issues of technological sustainability, accessibility, and artwork integrity. Nonetheless, overall, this research highlights the great potential of AR in bringing works of art into digital spaces and provides valuable insights for the future development of digital art exhibitions.

The World as Allegory in Cartography Symbolic and allegorical reference systems in the aesthetics of digital cartography

This philosophical essay explores the idea of the world as allegory in cartography, drawing on the works of Hannah Arendt, Walter Benjamin, and Nelson Goodman. It argues existentially that maps are not only representations of measurable objects, but also of aesthetic experiences. It analyses epistemologically how maps use symbols and allegories as representations to determine meanings or reveal truths. And finally, it shows how digital maps today, like works of art, reflect and shape world views and how, as a medium, they are interwoven with the perception, cognition and (inter)action.

Toward a community model of scholarly editing: FAIR/CARE, research ethics, & labour visibility

Historically, scholarly editions of music have identified a managing editor and individual volume editors. Other contributors might receive an acknowledgement with a vague description of activities, with institutional support often appearing in the printed metadata. This model’s emphasis on single scholars perpetuates a myth, relying heretofore upon predominantly invisible labour. Digital editions require interdisciplinary collaboration combining musicological skills, technical skills, and infrastructural resources, thus challenging this model’s ability to endure. Moreover, digital editions proffer opportunities for reconsidering the roles, workflows, and knowledge structures involved in critical musical scholarship. Situated at the intersection of currently running and recently completed digital projects, continuously emergent tools, sociology, and philosophy, this essay reflects on the role of the editor in the digital age. Beginning with Howard Becker’s art worlds model of creative communities, it suggests a model based on FAIR (Findable, Accessible, Interoperable, and Reusable) and CARE (Collective Benefit, Authority to Control, Responsibility, and Ethics) principles and the Music Encoding Initiative (MEI). MEI affords expansive metadata recording for contributors – composers, librettists, performers, editors, researchers, funders, etc. – to a work and its embodiments, which in turn enables broader visibility and empowers greater acknowledgement of the labour involved in such projects. Alongside other digital projects, this essay pays particular attention to how these technological and team-focused concepts are at- and in-play in the Reger-Werkausgabe Online.

Integrating NFTs into Feminist Art Practices: Actualizing the Disruptive Potential of Decentralized Technology

The integration of NFT technology into the art market utilizes a two-pronged approach of decentralization and increased accessibility as an equalizing answer to rectify gender discrepancies in the contemporary art world. This is not the first time that technology as an art medium has been used as a feminist tool to disrupt the previously established status quo. Through the exploration of the 1990’s Cyberfeminist Net Art Movement, this article will discuss how female-identifying artists employ technological characteristics such as anonymity and online gender masquerading to answer the exclusionary issues affecting their art practices. Furthermore, it will examine how NFTs work to build upon the previously established revolutionary movement of the 1990s to evolve the contemporary art practices of feminist artists. Additionally, this article will address the impacts of this new digital landscape, where anonymity is preferred and algorithmic ordering is non-existent, as a more pragmatic way of creating, selling, and buying art. Finally, this article will examine how the integration of blockchain technology—entirely machine-operated and free from human manipulation—aims to eliminate the human biases of identifying factors such as gender that can be concealed or fabricated when operating in an online sphere.

The role of public art has changed in recent times: a study

Public art which falls under the institutional category of visual arts primarily focuses on audience engagement and public representation. Additionally, there are other types of art in public settings that are designed for audience participation. The term Public Art means to those works of art commissioned and sponsored, monuments, memorials, and civic statues and sculpture installed in physical public domain by the Government and agencies and organization, which are especially significant within the Art World. The term is sometimes also applied to include and art which is exhibited in a public space these public art are basically symbolic, imaginary and illustrative representation on the Historical, political and cultural and civic values of the state. While speaking of public sculptures we often speak in terms of its artistic identity i.e. we always look at it and recognize merely as a piece of art only. We cannot undermine its importance in day to day social, cultural and political life. The presence of these pieces of art in any society holds a cultural recognition of that particular society. These are like the index or contents of a book that are sufficient enough to explain the entire subject matter. These public sculptures have become a part and partial of our day to day life. Since the colonial times to the modern era, in India, public art has undergone numerous changes. The institutions of public art and the public realm, media, genres, and forms of public art have all changed over time. Since the last two decades, site-specificity, public engagement, and process-based activities have been the main focuses of art in public spaces. Two types of public space can be distinguished. The first is the actual public space as a location, site, piece or thing. The second is the discursive public space, which is an abstract/conceptual area created briefly as a result of private individuals coming together to talk about or share important and light-hearted subjects. According to Habermas, this discursive space is the public sphere, which includes gatherings and encounters of people in public places like coffee shops, streets, community centers, and parks.

Художествената критика в капан: кризата на субективизма през 20-те години на XXI век

Art criticism has the privilege of being part of all the transformations in the history of Bulgarian art, with its role in the avant-garde situation in the 1990s being particularly significant, which left a lasting impression of its usefulness and necessity for the world of contemporary art. Over the past ten years, critical writing has progressively declined until the last dedicated portal for criticism has disappeared, and this circumstance has given rise to disturbing articles and questions in the public domain such as Where is criticism today?. Numerous attempts have been made to revive it, and the results have shown that not every generation is privileged to participate in a revolution, and not every decade gives rise to the writing of heroic criticism. For this reason, its temporary attenuation is not necessarily a cause for alarm—on the contrary. The self-serving writing and artificial motivation of criticism in recent years have left a more troubling sense of unprofessionalism, naivety, and illegitimate subjectivism in an age that rejects rigid norms and rules about good art. On the one hand, this ultra-democratic nature provoked dissatisfaction from connoisseurs of critical thought, but on the other hand, it placed the artist in the most liberal regional artistic situation of the last hundred years. The text analyzes the typology of contemporary art criticism, the factors contributing to its decline, and the possibilities for its legitimate emergence.

MIKHAIL AND IVAN MOROZOV AS СOLLECTORS OF RUSSIAN ART

In the art history literature dealing with collectors Mikhail (1870– 1903) and Ivan (1871–1921) Morozov, researchers are primarily interested in the artistic stratum connected with European, mainly French, art. The issues of collecting Russian painting, the choice of certain Russian artists, refl ecting the tastes of collectors, the change of artistic preferences in the late 19th and early 20th centuries, almost never attracted the attention of scholars. This article attempts at determining the approach developed by brothers M.A. and I.A. Morozov in collecting Russian art. In this context, it seems logical to analyze some features of their collections: what names and works the Moscow collectors chose, whether it was conscious and deliberate or spontaneous (as the literature characterized the formation of the Russian part of the Morozovs’ collection). Unfortunately, researchers have not always found arguments in favor of the collectors’ choice of certain Russian masters. At the same time, experts convincingly prove that with regard to works by iconic figures of European art, the choice and purchases were carefully thought out, right down to “booking” in advance a place in the hall for a particular masterpiece. Another question is far from idle: can we talk about the common ground for the Morozovs’ aesthetic views and, accordingly, about a certain continuity in their collections? The analysis of their Russian part allows us to conclude that the collections broadly and voluminously represent the panorama of the main Russian art currents from early Plein Air to Impressionism, from the first World of Art works to Symbolism, from imitations of Cézanne and Gauguin to independent avant-garde experiments of Russian painting in the 1910s. One of the characteristic features of the collection of the younger brother, Ivan Morozov, was fi gurative (object) art, as he was not attracted to objectless painting.

The Use of Insect Pigment in Art Works.

In this compilation, the focus is on the Cochineal insect (Dactylopius coccus Costa, 1835 (Hemiptera: Dactylopiidae)), a creature native to South America that produces a potent natural red pigment known as "carmine". This pigment, utilized for obtaining the color red, has been an integral part of the art world for thousands of years. Indigenous cultures, in particular, have employed the dye extracted from this insect in the creation of textile dyes and paintings. Moreover, the Cochineal insect and its unique pigments have not only supported artistic expression but also captivated and inspired artists. During the Renaissance period, artists preferred the carmine pigment produced by the females of the Cochineal insect for obtaining bright and vivid red tones. This study delves into the history of the Cochineal insect, its role in art, and its perception in the modern world. Famous paintings created with dyes obtained from the Cochineal insect are discussed, exploring how pigments have found a place in the art world and how artists have utilized this extraordinary source to create distinctive works.

The Theme of the Brotherhood of Man in the Works by I. A. Bunin

The article is devoted to the researching of the theme of the brotherhood of people man and its evolution in the works by I. A. Bunin. In the artistic world of the writer, the idea of new — evangelical, fraternal relations between people, based on Christian love, is affirmed. The key images and motives for understanding the evolution of the theme of brotherhood of people appear in the early poems, such as “In Kostyol,” “The Gravestone Scripture:” the image of Christ, the motive of faithfulness to the “covenant of love” and to a new, evangelical relationship between people. In the works of 1914–1916 I. A. Bunin creates the image of humanity, which that has forgotten about God, about Christ, about its original initial brotherhood. There is a tragic motive of destruction of the brotherhood of people man poems “Silence,” “Desperation” and in his stories “Brothers,” “The Spring Evening.” The article pays special attention to the study of the Christian text in the short story “Brothers,” the results of which allow to speak about the Gospel meaning of the word “brothers” in the epigraph and in the title of the story, which are playing the most important role in the expression of the key author’s idea, phrased in the words of Christ. I. A. Bunin’s works of the period of the Russian Revolution of 1917 and of the Civil War, namely his diary “Cursed Days” and his speech “The Mission of Russian Emigration,” are imbued with the tragic motive of fratricide and with images of Russian Cain and Russian Abel. The ideas of brotherhood of people and of the deepest interconnection of all humanity people is heardresounds again in through the works by I. A. Bunin inof the emigration period, in and in his lyrical and philosophical prose of the 1920s. The theme of the brotherhood of people in the works by I. A. Bunin, which undoubtedly has an undoubted evangelical basis, develops throughout the writer’s work, which testifies to its significance for the writer’s worldview and his concept of peace and man.

Digital Transformation in the Arts Field: Creating New Collaborations in the Digital Arts World

Digital transformation has become a major catalyst in changing the way artists create and collaborate in the art world. This article examines how technological advances, including artificial intelligence (AI), augmented reality (AR), virtual reality (VR), and blockchain, are creating new collaborative opportunities for artists. These technologies not only expand the mediums and methods of artistic expression but also introduce new ways for artists to interact and collaborate, both locally and globally. Through analysis of various case studies and interviews with artists, this article reveals the significant impact of digitalization on the creative process and distribution of works of art. In addition, this article also highlights the challenges faced in adopting digital technology, including copyright issues, data security, and changing art market dynamics. In doing so, this article provides a comprehensive view of how digital transformation is driving collaboration and innovation in the arts world, as well as its implications for the future of the arts industry.

Prussian blue pigment: Bridging the historical palette to modern innovations

This comprehensive review explores the multifaceted realm of Prussian Blue, a pigment with a rich history and varied applications tracing its origins, artistic applications, and chemical properties. Beginning with its origins as a laboratory creation, the paper traces its evolution into a revered pigment in the artistic world. The review explores the electronic transitions responsible for Prussian Blue's deep blue hue, shedding light on the intricate chemistry behind its vivid coloration. Additionally, the pivotal role of iron ions in determining the pigment's properties is examined in detail, highlighting the importance of precise composition in achieving desired color characteristics. Challenges in the reintegration of Prussian Blue into conservation and restoration projects are also explored, emphasizing the importance of careful preservation techniques to maintain the pigment's integrity and vibrancy. The review discusses the pigment's lightfastness and stability, addressing common issues such as fading and discoloration over time. A notable phenomenon of bronzing particularly associated with Chinese Blue has been characterized by the appearance of yellow or brown hues on the surface of the pigment, that has puzzled artists and conservators for centuries. The review delves into the underlying causes of bronzing, examining factors such as environmental conditions, pigment composition, and application techniques. The review explores the pigment's interactions with other blues and whites, offering insights into the spectrum of shades achievable through careful color mixing and layering techniques. The paper revisits the perennial debate surrounding the permanence of Prussian Blue. While some argue for its enduring stability and longevity, others point to instances of fading and discoloration observed in historical artworks. The manuscript navigates these conflicting perspectives, providing an understanding of Prussian Blue's permanence in different contexts. Prussian Blue stands as a testament to the symbiotic relationship between science and art, where its molecular structure and vibrant shades continue to inspire both chemists in laboratories and artists in studios. The Prussian Blue emerges as a captivating convergence of art and chemistry that has left an indelible mark on laboratory benches and artists' canvases. The unique interplay of ferric and ferrous ions, not only renders a deep blue color but also makes it sensitive to the variation of its environment. The interplay of its refractive index, bronzing tendencies, and tinting strength shapes its artistic applications, influencing the vibrant hues it contributes to diverse palettes. The permanence paradox surrounding Prussian Blue underscores the importance of precision in its preparation. As artists mix and blend, the pigment unveils its versatility, playing a pivotal role in color harmonies and shade variations. Beyond its role in art, Prussian Blue finds diverse applications in medicinal and industrial contexts. From its use as an antidote for heavy metal poisoning to its incorporation into high-performance materials such as batteries and sensors, Prussian Blue continues to demonstrate its versatility and utility in modern society. The review highlights these varied applications, showcasing Prussian Blue's enduring relevance and evolution beyond its historical roots.

Исследование творчества А.Ф. Лосева в Китае

The article gives a comprehensive overview of the research of Aleksei F. Losev's works and intellectual heritage in China. It is noted that since the first publication about Losev in China since 1988 extensive achievements in this field have appeared. The information and the analysis about the results of researches of the Chinese specialists from different generations are presented. The main innovative aspects are revealed on the example of the study of Losev's aesthetic thought by the author of the article: comparison of the concepts and categories of Western and Chinese aesthetics related to Losev's philosophy. The peculiarities of the poetics of Losev's musical-philosophical prose and his “Eros” writing are revealed. The artistic world of Fyodor Dostoevsky is considered with the help of Losev's aesthetic theory of the symbol. The author believes that the study of Losev in China is on the rise and has broad prospects.

NAJVEČJE SILE ZA DOSEGANJE NAJBOLJŠE VIŠINI IN DALJAVE LETA NA PRESKOKU V MOŠKI ORODNI TELOVADBI

Analysing the take-off forces on the vaulting table can help to inform the athlete about the vaulting technique. A measuring device was used to measure the forces during the Artistic World Championships 2019. The greatest forces were measured during Forward handspring. The mean maximum values were 5.4 times body weight (BW). The highest peak height was calculated for Forward handspring (tucked) at 2.9 m. The longest flight distance was 3.62 m for forward handspring and 3.59 m for tsukahara/kasamatsu. The statistical correlations between the forces and the peak height and flight distance could only be verified for Forward handspring. For the Tsukahara/Kasamatsu and the Yurchenko vaults, no correlation could be proven.

RECEPTION OF AUBREY BEARDSLEY’S WORK IN THE NOVEL “THE APES OF GOD” BY WYNDHAM LEWIS

The article is devoted to the study of Wyndham Lewis’s perception of Aubrey Beardsley’s graphic and literary works. We apply an aesthetic-poetological method and historical-literary method and biographical method. The comparison of Beardsley’s novels «Under the Hill» and Lewis’s «The Apes of God» is associated with the experience of graphic creativity of the authors, with their interest in Catholicism, with parody and the grotesque. An analysis of direct references to Beardsley in the context of “table talk” and aphorisms of Wilde, Beardsley and Whistler shows that Lewis does not completely deny the experience of the 1890s. Rather Lewis pays a lot of attention to them in the form of reminiscences, following the aesthetics of objectivity. If the era of 1890s is characterized in Lewis’s novel with the help of food metaphors, then the pictures of modernity are created with the help of battle, military vocabulary. Lewis characterizes fictional heroes of the 20th century through the artists of the nineties of the 19th century – Beardsley, Wilde, Whistler, Leverson. If Wilde and Whistler are recognized by Lewis in the artistic world of the novel through Pierpoint, Zagreus and Osmund, then the name of Aubrey Beardsley is more associated with the image of Sib. The heroine of the novel (whose prototype is Ada Leverson) is created through characteristics reminiscent of Beardsley’s drawings, which combine masses of black and white and which are associated with the tradition of the «Fetes Galantes».

REPRESENTATION OF THE GOSPEL CODE IN THE NOVEL “GETTING INTO CHARACTERˮ BY H.L. OLDIE THROUGH THE PRISM OF SHAKESPEARE’S THEATRICAL METAPHOR

In the presented study the novel “Getting into Characterˮ (1991) by Henry Lyon Oldie (the pen name of Dmytro Hromov and Oleh Ladyzhens’ky) is considered as a part of Hamlet`s text of modern Russian-language literature. The peculiarities of the representation of the Gospel code of the novel are analysed. They are conditioned by the author’s concept of the artistic world, which assumes the recreation of reality according to the stage laws. It is established that the transformation of the Gospel code in the novel occurs at the level of the image system (Actor-Hamlet-Christ, mentor/Master-Messiah, pupil/apprentice-follower, stage word as Logos, theatre as religion, abyss as unrealised creative work), motif structure (motifs of mentoring, faith, salvation and resurrection of the soul). The ideological and thematic content of the artistic work is changed (the theme of art and its Creator, the problem of faith and faithlessness, the idea of redemption of human sins – the humanistic mission of the protagonist). It is determined by the theatricality as the most important category of the novel`s poetics, underlying the construction of the artistic reality of “Getting into Characterˮ. Special attention is paid to the representation of Shakespearean theatrical metaphor, as well as to the intertextual connection of H.L. Oldie’s novel with Shakespeare’s “Hamletˮ tragedy.

Understanding the Guanxi Culture in Chinese Art Market: Okada Kosho and Shanghai Art World in the Late-nineteenth Century

Shanghai art market had developed a strong international trade system since China was forced to have her gate ajar in the late-nineteenth century. In 1873, a Nagasaki doctor Okada Kosho (1821-1903) travelled to Shanghai and Suzhou. Thanks to the development of stochastic models for the analysis of social networks in contemporary statistics, the structure of Okada’s guanxi (social connections) in Shanghai and Suzhou in the late nineteenth century can be represented by the model, which illustrated that Okada was connected with a few “bridges”, including the Japanese artist Yasuda Rozan, Japanese Consulate Shinagawa Tadamichi, an official dispatched at the end of 1860s to Shanghai, Kumashiro Encho, and the prominent art collector of the Guoyun Chamber, and Gu Cheng, all of whom helped Okada Kosho to explore the Shanghai and Suzhou art world. Through the bridging ties spanned by these individuals, Okada interacted closely with a particular cluster of Chinese artists, art collectors and art dealers. This proved that the Chinese art community heavily relied on social connections of the “bridges” in advertising itself and spreading its reputation. This paper first outlines the Shanghai art market in the late nineteenth century based on Okada Kosho’ s Diaries of Shanghai and Suzhou (1890). It then argues for the opportunity and limitation of building guanxi in the context of the Chinese art market. Finally, it suggests research approaches based on viewing the late-nineteenth-century Shanghai art market in this new way.

Sculpture, circular economy and ecological reflections: redefining waste through sustainable art in Ghana

This study explores the evolving connection between sculpture and the circular economy, a regenerative economic model designed to minimise waste and maximise resource efficiency. This study delves into the key principles of the circular economy and its application to the world of art, particularly within the context of sculpture. Through a qualitative approach and design, our study sampled three artworks and examined how their artists were inspired by environmental concerns in Takoradi-Ghana. This allowed perspectives on diverse artistic styles and cultural contexts of artists and their principles of sustainability, especially the choice of materials that have minimal environmental impact. Based on interviews and observatory data sourcing, the study revealed that the incorporation of discarded materials, upcycling, and recycling techniques highlights the crucial role of sculpture in promoting the circular economy and fostering ecological reflections. This approach demonstrates the potential of sustainable art to inspire art students and teachers, driving cultural shifts towards more environmentally conscious practices in the Takoradi metropolis of Ghana.

THE AUTHOR’S INTERTEXTUAL AND TRANSLATION SECONDARY OUTSIDENESS

Following the theory of the author’s outsideness of M.M. Bakhtin, the author of the article proposes to single out two types of the author’s secondary outsideness: intertextual and translational. Secondary outsideness is the departure of the author from a foreign artistic world. The author first plunges into another artistic being, and then leaves it. Intertextual secondary outsideness (transgredient) is the author’s departure from the depicted real life and his/her resistance, in the creative process, to the artistic world of another author as a world image, the pacification of this influencing world, in which s/he has gotten involved through his/her interest in it, by weakening his/her identity in it. Translational secondary outsideness (transgredient) is the departure of the author-translator with his/her own poetics from both the artistic being of the original and the reality behind it, recreating the identity of the original author on a foreign language soil with the help of a language equivalent in order to create a flickering text as “one’s own”/“alien”. The analysis of the author’s secondary outsideness allows one to reach the level of authenticity of the artistic world created under the influence of another, to see the author’s resistance to another artistic world or his/her dissolution in it.

Procedurally generated AI compound media for expanding audial creations, broadening immersion and perception experience

Recently, the world has been gaining vastly increasing access to more and more advanced artificial intelligence tools. This phenomenon does not bypass the world of sound and visual art, and both of these worlds can benefit in ways yet unexplored, drawing them closer to one another. Recent breakthroughs open possibilities to utilize AI driven tools for creating generative art and using it as a compound of other multimedia. The aim of this paper is to present an original concept of using AI to create a visual compound material to existing audio source. This is a way of broadening accessibility thus appealing to different human senses using source media, expanding its initial form. This research utilizes a novel method of enhancing fundamental material consisting of text audio or text source (script) and sound layer (audio play) by adding an extra layer of multimedia experience – a visual one, generated procedurally. A set of images generated by AI tools, creating a story-telling animation as a new way to immerse into the experience of sound perception and focus on the initial audial material. The main idea of the paper consists of creating a pipeline, form of a blueprint for the process of procedural image generation based on the source context (audial or textual) transformed into text prompts and providing tools to automate it by programming a set of code instructions. This process allows creation of coherent and cohesive (to a certain extent) visual cues accompanying audial experience levering it to multimodal piece of art. Using nowadays technologies, creators can enhance audial forms procedurally, providing them with visual context. The paper refers to current possibilities, use cases, limitations and biases giving presented tools and solutions.

The book as a genre phenomenon in modern prose of the Russian abroad (“Venice. Quarantine Chronicles” by E. Margolis)

The article studies the book as a special type of artistic unity, representing an original model for expressing artistic consciousness in modern Russian literature abroad. The article proves the productivity of this genre phenomenon, identifies the main trends in book creation associated with an appeal to the sacral text, with the actualization of the autobiographical, diary and memoir prose traditions. The representative sample is analyzed on the basis of the modern literary scholarship provisions, which conceptualize the book as an original genre phenomenon. Using the example of E. Margolis’ book “Venice. Quarantine Chronicles” (2020), we analyze the mechanisms of constructing the artistic world, organically embodied in book format. The article reveals the nature of the artistic integrity of the book, conditioned by the interaction of verbal and visual components, the motif complex associated with the Christian tradition (which includes motifs of insight, internal movement, silence and healing of the soul), and reveals the features of the palimpsest, which serves as the principle of genre modeling. The conceptual and formal anchor in the book is the image of Venice, which connects everyday and metaphysical, visible and invisible aspects. The article proves that the book represents a form of the world harmonization and a space for a dialogue between different cultural codes at whose junction the author’s hybrid identity is formed.