POLITISKI DOKUMENTI LATVIJAS LAIKMETĪGAJĀ MĀKSLĀ

Author(s): Krista Burāne / Language(s): Latvian Issue: 2/2015

Socially and politically significant themes rarely become the content of the works of art in Latvian contemporary art. It can most likely be explained by the past Soviet traumatic experience when the art had to compulsorily serve state political life and ideology. In Latvia a large part of artists represent the rightist art for the art’s sake opinion which is concerned about the form of the work of art, not the issues of its content. Rightist art also stresses the freedom of artists in their relationship with society so that the artists could think within the framework of the Latvian concept of one’s own place and green piece of land. One of the main issues of debates on the relationship of politics and art is the question of social life aesthetisation in a work of art which promotes observation, not a vigorous action, thus suffering and people’s lives are turned into a commodity. However, is it not possible for aesthetics to serve as a trigger for an action to change the existing situation and improve the common well-being of society? This action could, for instance, reduce social loneliness, change social behaviour, and create alternative forms of economic and political life. It could be a work of art which does not pity, as pity humiliates, but a work of art which identifies oneself with suffering because identification helps, and in a way represents a contemporary leftist view of the world which is different from the classically rightist or leftist viewpoints which state that there is no place for politics in art and vice versa. The article examines the works of Latvian modern artists (Jānis Balodis, Ivars Drulle, Dāvis Sīmanis and Arnis Balčus) of four different fields. The chosen works are of a socially active character; they also use political documents of different forms in order to encourage the involvement of the viewer in discussions which are important for society.

Slovak Arts Council: Grants to Support Digital Games Creation

Author(s): Maroš Brojo / Language(s): English Issue: 1/2019

The gaming industry represents a significant driver of advanced economies. Slovakia does not want to lag behind in this respect. There are some possibilities of how to support the development of digital games. One of them is also offered by the Slovak Arts Council, which subsidizes the creation of digital games and helps to start business activities by using the creative and artistic potential of game designers.

A New Alexander-Type Tetradrachm from Susa

Author(s): Kamen D. Dimitrov / Language(s): English Issue: 7/1997

Младият човек – структури на разказите за и от него

Author(s): Deiana Dragoeva / Language(s): Bulgarian Issue: 4/2018

In the article are introduced the conclusions from the research of the series produced and distributed by the television giant “Disney Channel”; web series that are original Bulgarian production created in the period 2013-2018; and the storytelling in the narratives of the video creators – vloggers and youtubers – of content for youth public. The task in analyzing these structures is to follow how the stories are changing from institutional created business constructs into authentic personal narratives. How these narratives exist in the new informational system of Internet? On the other hand, which elements of these stories are kept the same or are changed and what new storytelling forms arise. How through these storytelling structures are build and impose behavioral and mental models that influence on the culture of the children and youths in the time of global connection and destruction of the local relationships. The research opens the space for reflection what are the new myths that will transmit experience and knowledge. Who are the storytellers – the contemporary shamans – that deliver the content showing the meaning and searching for the answer of the question “Who am I”? In the never ending space of Internet, where the hero has thousands faces, isn’t it time for returning to this “radical honesty” that stand the searching man against his biggest trial – himself?

До Каварна и назад. Метъл фестивали и медии – образи, отразяване и развитие

Author(s): Plamena Petrova / Language(s): Bulgarian Issue: 4/2018

The report studies the festivals for metal music in Bulgaria and their connection with the media. Specialized metal festivals and rock festivals, the program of which includes metal performers, are included in the study. The focus is on the XXI century, but festivals from the end of the XX century are also mentioned, so that the development of the metal festivals in Bulgaria can be outlined. The demarcation line is the Kavarna festival, the size of which positioned it as a culmination of this development. Some phenomena, in connection with the festivals themselves, their audience and media coverage are also investigated. Attention is paid to the relevant media and the way metal festivals are included in their content. The change in the media scenery and the way these events are spoken about is among the focuses of the report. An attempt is made to outline some main media images, connected to the metal festivals.

„Краят на истината“ и технологията на интернет медиите

Author(s): Peter Ayolov / Language(s): Bulgarian Issue: 4/2018

This article is а part of a larger study called “Manufacturing Dissent” about the effects on human communities after the introduction of the new technologies of Internet, online and social media. Here the focus is on the understanding of truth and untruth in online media as well as the connection of Internet media technology with the increase of disinformation online. The thesis of the “Manufacturing Dissent” model is that in the context of the Internet, instead of generating consent within the national state, the new online media model creates hostile groups through disinformation, pseudo-communication, manipulation, delusion, lies, propaganda and deliberate causing of moral anger. „The end of the truth“ means that the truth on the Internet is beginning to be lost among the vast amount of information and the lack of regulation regarding the correctness of the published data. Instead of truth, media researchers formally talk about „post-truth,“fake news,“ and „alternative facts“. Truth on the Internet is more like „truthiness“ or а belief that a statement is true based on the intuition or understanding of individuals, regardless of evidence, logic or facts. The subject of research is the connection between every new technology in mass media and the truth of the information and the effects on the consensus in society. Since the beginning of the 21st century, disinformation on the Internet has increased with the development of online media and social networks, and it is a problem of social peace and consent in every country.

ASOCIERI ÎNTRE FORMELE GEOMETRICE DE BAZĂ ȘI CULORILE PRIMARE, DE LA WASSILY KANDINSKY LA INGO GLASS

Author(s): Vasile Duda / Language(s): Romanian Issue: 1/2018

Basic Geometric Forms and Primary Colors Associations, from Wassily Kandinsky to Ingo Glass. An inventory of theoretical interpretations, from Wassily Kandinsky to Ingo Glass, was sought and explanations were sought for these interpretations and associations. With the arrival of Wassily Kandinsky at Bauhaus, the theory of the relation between the geometric forms and the primary colors emerged, whereby the yellow color is associated with the geometric shape of the triangle, the blue with the circle, and the red with the square. A test applied to students around 1923 supported this association that influenced the artistic theory of the 20th century. In search of a synthesizer concept, Ingo Glass reinterprets the Bauhaus theory in the nineth decade of the 20th century. In the Ingo Glass artist's view, the yellow color is associated with the triangle, blue is a color that receives expressivity in particular by associating itself with the balanced shape of the square, and red is predominantly related to the expansionist dynamics of the disc or circle. Through this reinterpretation, the artist simplifies the shapes of the sculptural constructions at the triangle, square and circle, and from the chromatic point of view he limits himself to the use of primary colors. The comparison between the two theories made by Peter Volkvein, the director of Ingolstadt's Concrete Art Museum, in 1998 stated the need to determine who is right! The history of the arts was thus given a theme by which to articulate the artistic axiom of the relationship between basic forms and colors. The analysis of this issue has not been transformed into a partisan for one or the other of the two theories because we consider the differences between the two interpretations as the consequence of a socio-cultural evolution and the imprint of the environment in which we have formed our artistic sensitivity. The understanding of Kandinsky's theory and then the acquisition of this point of view within the Bauhaus School is outlined in the cultural context of the early 20th century. The test given to students at Bauhaus revealed a perfectly justified viewpoint and consequently was embraced by the members of the school and the artistic world that followed this experiment. A century away, Ingo Glass changed the interpretation as a result of adapting to a more abstract cultural environment. The reasoning of combining blue with rounded shapes that are specific to the depth of the water and thus to the relationship with centripetal space specific to the circle is close to individuals who lived in a more natural environment at the beginning of the 20th century. The reasoning of square association, as a balanced geometric shape with a static color (in a stable sense), is close to individuals living in a more abstract, more common notion at the end of the 20th century.We therefore consider that these differences of perception are due to the dynamics of perception of the contemporary man. Changing the socio-cultural environment also causes changes in how to perceive the relationship of forms and color, between natural and abstract. To test these issues, a test close to that offered at the Bauhaus School was designed and respondents were the students participating in the National Olympiad of Visual Arts, Architecture and Arts History. So the test has national coverage, but it has been limited to students aged 16-19, qualified at the 2018 National Olympiad, organized in Bistrita. The results were compared with those obtained about ten years ago at the Museum of Modern Art in New York, which showed that 48% of the respondents chose the blue color combination with the rigorous form of the square. The test from Bistrita confirmed an association of the yellow-colored triangle in the proportion of 39%, 36% red, and 24% blue. The circle was associated 39% with red, 37% with yellow and 23% with blue. The square met a majority of 52% for blue, 25% for red and only 22% for yellow. The experiment itself reproblematizes the relationship between the intuitive and rational approach of the contemporary plastic phenomenon.

DESPRE JURIZARE, LA UN PROIECT DE ARTĂ PLASTICĂ ÎN ANUL 2018

Author(s): Gheorghe Mândrescu / Language(s): Romanian Issue: 1/2018

Sulla giuria, a un progetto d’arti plastiche nell’anno 2018. Non mi sembra un falso problema, dopo cinquant’anni di sorveglianza e ripresa di quello che esce dal Vaso di Pandora, servendo alla rappresentazione di un programma ideologico, dittatoriale, il problema della scelta di un lavoro d’arte, creato liberamente, senza barriere e con la speranza che porta un messaggio valoroso, quale rimarra per il futuro. Il modo in cui lo facciamo oggi, vuole esprimere anch’esso la separazione da questo passato recente, malefico, sottoposto a una propaganda per un sistema che si è dimostrato utopico, e quale vogliamo, o non vogliamo, ha lasciato tracce profonde. Non basta dire che vogliamo essere differenti, e con questo pensiero tutto si risolve. Nell’arte rispettare il gusto della maggioranza diventa spesso dannoso, esprime l’apprezzamento della mediocrità in nome della quale, la storia ce lo dimostra, si sono sacrificati tante idee che sono sparite, o sono stati obbligati di aspettare decenni o secoli. Ci proponiamo alla giuria di nuove creazioni, e vogliamo dare soddisfazione a una maggioranza mediocre, dominante, o desideriamo un’apertura quale porti verso il futuro, che ci offre qualcosa che noi i molti non possiamo vedere oggi ma aspettiamo di darci gioia domani? Il comunismo non ha permesso nemmeno la propagazione nella grande massa di alcuni successi quali l’intero mondo ha riconosciuto allo spirito uscito dallo spazio romeno (vedi il caso di Constantin Brâncuși. La scultura „La saggezza della terra” non ha avuto ecco a un intero popolo quale, oggi, non ha riuscito di raccogliere nemmeno un euro/rumeno per godere noi e i nostri successori di un opera quale nel mondo occidentale vale decine di milioni di euro). Per non allungarci troppo, desideriamo un nuovo approccio verso il rifacimento della vera scala valorica, dopo più di mezzo secolo in cui le giurie erano supervisionati totalmente dal Comitato di Cultura ed Educazione Socialista - il braccio decisionale del Partito Comunista Romeno, sezione locale oppure nazionale.

IN MEMORIAM ANDREA RAGUSA

Author(s): Gheorghe Mândrescu / Language(s): Italian Issue: 1/2018

Una telefonata del professor Pasquale Fornaro mi ha annunciato la triste notizia della scomparsa del giovane professor Andrea Ragusa, nostro amato collaboratore. L’ho conosciuto nel 2013 come ospite del nostro Istituto, all'Università Babeș-Bolyai di Cluj-Napoca, con una conferenza ed un seminario, entusiasti davanti ai nostri studenti. Il nostro dialogo ha continuato nello stesso anno, a poco tempo, in occasione della mia conferenza all'Università di Siena, ambedue essendo preoccupati del problema del patrimonio (vedi l'Annuario dell'Istituto di Studi Italo-Rumeni, X, Cluj-Napoca Roma 2013-l'articolo, La gestione del patrimonio culturale ed ambientale tra centro e periferia: l'esperienza regionale. - vedi anche le locandine.

Алтернативни сблъсъци на клубната сцена в България - айсберги, капитани и Леонардо ди Каприо

Author(s): Gergana Rayzhekova / Language(s): Bulgarian Issue: 1/2017

The research on Alternative Rock Music in Bulgaria, part of which is this article, applies as a research method inclusive observation and community participation, and is based on more than seventy anthropological in-depth interviews with musicians, fans, club owners and managers and critics, and numerous visited concerts in around Bulgaria and abroad. The article presents some of the main conclusions made during the research in the following directions, namely what is the alternative club music in Bulgaria and what are its communicative aspects; what perspectives and problems in the future development of alternative music in Bulgarian music clubs can be found in theoretical aspects and how the research can be used by different stakeholders (music clubs, producers, groups, etc.). The role of Leonardo DiCaprio is the rock band that sacrifices itself and its life in the name of the alternative scene - our Titanic in this rock story.

Архетипи и персонажи в сериалите след 2000 г.

Author(s): Bistra Velichkova / Language(s): Bulgarian Issue: 1/2017

The article aims to analyze to what extent the archetypes (according to Carl G. Jung's theory of archetypes and collective unconscious) have been used in the creation of the characters in the Bulgarian TV series, from the most recent times – “Pod prikritie” (Crime drama) and “Stolichani v poveche” (Comedy drama), which have been broadcasted in 2011 on the Bulgarian national televisions – BNT and BTV. We also examine how these two productions, despite the differences in the genres, represent the time after the political changes in Bulgaria after 1990 (the so called period of the “Transition”). The crime drama “Pod prikritie” shows in a realistic way the connections between the mafia and the politicians in Bulgaria, relations which have been an integral part of the time after 1990 in Bulgaria. The comedy drama “Stolichani v poveche” represents the life at a personal, family-household level; It shows how Bulgarians live, struggle and develop in these controversial years during the Transition period. In both films we observe the same mentality, worldview and goals of the characters. Whether the characters are high-ranking mafia bosses, or mayors of far end neighborhoods, up until recently villages near Sofia, the characters of both films have the same goals – to get rich and to occupy high state positions, from where they can have power and steal money. Every action of the characters is driven by the slogan: “The goal justifies the means”. The most important pursuit of the characters is to achieve personal profit, wealth and prosperity, at the expense of the future of the whole society. By examining the theory of the archetypes and the collective unconscious of Carl G. Jung, we analyze how typical Bulgarian personages from the years of the Transition period, have been presented in the two TV series. The results of our research show that in the series of “Pod prikritie” and “Stolichani v poveche”, Carl G. Jung's archetypes of the Hero, the Innocent, the Master, the Sage, the Joker, etc., can clearly be distinguished. The publication is part of the research results of the project N145/2016, supported by Science Sector Fund of Sofia University “St. Kliment Ohridski” on topic “The Film Proposals of the Televisions in Bulgaria in the Period 2010-2015”, headed by assist. prof. Zhana Popova. Participants: Bistra Velichkova, Deiana Dragoeva, Delyana Nesheva, postgraduate students at the Department of “Radio and TV”.

Съдебното шоу – практики, проблеми, перспективи

Author(s): Anastasia Karacholeva / Language(s): Bulgarian Issue: 1/2017

Reality television as a programming genre has been rapidly evolving in the past few years and has gained enormous popularity by attracting unprecedentedly large audiences, which prompts its creators and the media to heavily rely on them. However, the very conception behind the word ‘show’ and the subsequent realization of one leads to the hedonistic purpose of the media. Nowadays, the need for legal literacy has increased with the introduction of new technologies and the expansion of the role of the media. Shows such as the Bulgarian ‘Court dispute’ propel a lot of arguments, yet they remain an integral part of the television listings. And because they cannot be discontinued, the perfect scenario to both combine their functions and provide useful information and entertainment must be fabricated and then implemented accordingly. The text is part of a bachelor's thesis, defended excellently in the Department of Radio and Television, FJMC.

Нова българска книга с юнгиански и антропологически прочити на хеви метъл културата

Author(s): Lozanka Peycheva / Language(s): Bulgarian Issue: 1/2017

A review of the book ‘The heavy metal culture. A psychoanalytic anthropology study’ by Ana Stefanova (2017). The key contribution of Ana Stefanova’s research is related to the perusal and interpretation of heavy metal culture from psychoanalytical viewpoint.

Принципи и техники за сериализиране на телевизионния разказ

Author(s): Deiana Dragoeva / Language(s): Bulgarian Issue: 2/2017

The creation of long narratives that engage audiences over time is both a creative and crafting process. The forms of structuring such narratives vary depending on the genre, the purpose, the media, the principles of the industry, etc. They are creative constructions designed artificially, limited in certain parameters and subject to the influences of their information environment. The serial storytelling has a specific expression. The characters in it not only move the story forward, but they build relationships that even more closely tie the audience to their world and experiences. In order for the serial story to remain loyal to the viewer, it adheres to the form of narrative constituted in the beginning, and through it offers the next "taste" of history satisfying the hunger of the audience over time. What are the key elements of a serial narrative; what constructs the "seriality" of the story; why episodic narrative is taken as a flaw? These are a fraction of the issues discussed within this publication. Seeking answers would probably help creative teams in making long narratives in different serial forms, and would also develop a more critical the audience to the offered content of the serials.

Mузикалната креативност през погледа на Джейсън Тойнби

Author(s): Mihail Lukanov / Language(s): Bulgarian Issue: 2/2017

The article undertakes to elucidate media researcher Jason Toynbee’s views on the nature of creativity in the field of music. The text is an interpretation of Toynbee’s publication in a collection of cultural research studies addressing the subject of music (Toynbee, Jason. (2000). Music, Culture, and Creativity. In: The Cultural Study of Music: A Critical Introduction. New York, Routledge). The researcher offers a critical reading of the Romantic thesis that creativity only belongs in the realm of elitist “high” art. Toynbee maintains that the process of creation is profoundly social in its essence. Along the lines of some postmodern reflections, the researcher advances the idea that creativity is not a heroically romantic or purely individual artistic act, but rather a socially determined phenomenon conditioned by collective consciousness. Innovative and truly creative music is only made by artists deeply rooted in the social domain, who create their music in a network of interactions with colleagues, critics, audiences and the music industry. As far as personal creativity goes, it can best be understood as a process of individual creative choices within the broader context of a shared sociocultural basis.

Transitions Online_News-Around the Bloc-17 May 2019

Author(s): TOL TOL / Language(s): English Issue: 05/21/2019

The important, interesting, or just downright quirky news from TOL’s coverage region. Today: victorious protests in Yekaterinburg; human rights in Chechnya; truckers in Bulgaria; tone-deaf Eurovision comments; and tender Mongolian camels.

Kako (je) tvornica mijenja(la) grad: primjer tvornice Dalmatinka

Author(s): Dragana Modrić / Language(s): Croatian Issue: 2/2018

The opening of the Dalmatinka spinning mill and thread factory in the middle of the 20th century marked both the industrial and cultural revolution in the undeveloped and rural area of the Dalmatian Hinterland. As one of the most successful textile factories in Southeastern Europe, Dalmatinka was the initiator of the local economy, and the social and urban development of the town of Sinj. Since its very beginning, Dalmatinka instituted a housing care policy that aff ected the urbanization of the town. The factory displays the history of workers, housing care policy, infrastructure development of the town, as well as social phenomena such as female emancipation. This article presents an analysis of the results of a study which was conducted within the project “Industrial heritage and memory culture on the example of the Dalmatinka factory – Sinj” and points to the possibility of analysing the project in the context of establishing the political in art as an important element in engaging the public/community.

Towards the Value of the Emerging Art. The Case of the Art Academy of Latvia

Author(s): Linda Teikmane / Language(s): English Issue: 1/2018

As the notion of the art market, employability and social economic impact drives higher art education even more towards art market and art world centred approaches, the role of emerging art and artists in art education and research rises. The research addresses the value of emerging art and emerging artists, particularly, the alumni of the Art Academy of Latvia and the Painting department of the Art Academy of Latvia in the period 2006–2010. It discusses the use of the terms of the emerging art and the emerging artists, methodological approaches towards the foundation of values of art and culture, applying of the institutional theory and never-established role of emerging art in the culture and creative industries. It also discusses necessity to further develop approach that would allow to establish value of the emerging art and the role of emerging artists inside cultural and art institutions, namely, art education institutions.

Radošuma aktualizācija Latvijas darba tirgū: radošas personas un izglītība

Author(s): Agnese Treimane / Language(s): Latvian Issue: 1/2015

Creativity has become a characteristic feature and a driving force of the contemporary labour market. The researcher Richard Florida characterises the creative professionals as a modern basic class. Creativity is viewed as a basic feature of each person and sustainability of the state. However, this raises the question in what way representatives of creative professions become part of and compete in an environment of general creativity. How grounded is it to speak about a law for creative persons when it is so problematic to define the target group of this law and the representatives of those professions who will be able to claim relief and privileges that this law would provide? Creative persons or representatives of creative professions is a complex, non-homogeneous and problematic group, the same as students of art universities in Latvia who, although they acquire education and skills of a similar profile, is a non-homogeneous, split and essentially different group, which does not lend itself to analysis when we speak about their common adequacy to the labour market in Latvian. Does a student who graduates from the Art Academy of Latvia, the Latvian Academy of Culture or the Jāzeps Vītols Latvian Academy of Music become a creative person, a creative professional or a representative of a creative profession, or all of them together? Or perhaps none of the above? How adequate to and ready for the labour market is this graduate? To what extent does it matter which of the universities has been graduated and how significant it is in the future career of the graduate? The paper seeks answers to these questions and attempts to establish what connection exists between the creative class, creative people, representatives of creative professions, graduates-bohemians and students of Latvian art universities.

DIGITALNI SUROGATI TISKARSTVA OSJEČKOGA NUTARNJEG GRADA KAO PRIMARNI BAŠTINSKI IZVOR

Author(s): Hrvoje Mesić,Helena Sablić-Tomić / Language(s): Croatian Issue: 20/2018

The 18th and 19th century printing industry of Osijek Inner City is a relevant source that gives insight into how the cultural images of the city were created in that period. The publishing work of I.M. Divald and his successors allowed Osijek to become a center of world and folk literature, while their publications, known as Divaldiana, shaped the trilingual Slavonian literature, as well as the direction of Croatian cultural and literary tradition. While adhering to the democracy principle, it is necessary to ensure the transparence of this material by means of modern information technology and the process of digitalization. That is how surrogates are created. Heritage will no longer be solely determined by its location; however, it will become a destination. By joining metadata properly, the digital collection becomes valuable as these data play a key role in explaining the collection identity, along with its usefulness in a global society. Every digital product should be user-oriented, and the assessment should serve as an instrument of change. By subjecting fragmented heritage to the process of digital convergence we are allowing for its integrity, and the development of the city phenomenon.