За образователното взаимодействие между две изкуства

Author(s): Georgi Terziev / Language(s): English,Bulgarian Issue: 2/2021

This study summarises the long-term experience in the study of the possibilities for educational interaction in the field of art pedagogy. The main semantic emphasis is on the connection between fine arts and literature in the Bulgarian artistic tradition and the creation of pedagogical integrals that optimise the learning process in the field. Ideas have been generated for a qualitative synthesis that would turn the literature teacher into a reliable guide in a wider cultural area.

Poezja, sztuka i antropocen.Susan Schuppli i Kacper Bartczak

Author(s): Anna Kałuża / Language(s): Polish Issue: 31/2022

The aim of the article is to outline the basic critical possibilities that visual and linguistic art can have in the world of anthropocene. Referring to, among other things examples of the so-called slick images by Susan Schuppli and poems by Polish poet Kacper Bartczak I look at images in digital and poetic media. I am interested in the differences between an artistic activity in which inhuman actors play an important role and one in which the main initiator is still a human being, trying to place human language and human artifacts in the network of biological-technological transformations.

LIFE OR THEATER?

Author(s): Anca Bădulescu / Language(s): English Issue: 16/2019

This article focuses on the French novelist’s work Charlotte, a biographical novel/ poem in prose which follows step by step the very short life of the Jewish-German expressionist painter, Charlotte Salomon. Beyond the tragic destiny of the artist this novel condemns once more the most disastrous derailing in human history: the Holocaust. Consequently, this article is meant as a warning against the rising nationalist, racist and anti-Semitic voices in our world.

Особености на ранноосманските еднокуполни джамии в България

Author(s): Zhulieta Gyuleva / Language(s): English,Bulgarian Issue: 1/2017

The main characteristic features of the Early Ottoman single-domed mosques are well known. This type of mosque was particularly widespread in the whole of the Anatolian region and the Balkans. A few Early Ottoman single-domed mosques are known from Bulgaria – the mosques in Yambol, Stara Zagora, Veliko Tarnovo, Kyustendil, Karlovo, etc. Among them, Eski Mosque in Yambol and Ahmet Bey Mosque in Kyustendil deserve special attention for their rare layouts. Despite that, the characteristic features that put them in the frame of the Early Ottoman period are not well illustrated. The analysis of their layouts, porticoes, positions of the minaret, building materials, etc. shows that the single-domed mosques from the Early Ottoman era in the Bulgarian lands followed the development of the general planning characteristics and constructional techniques of the period. The creation of rare types like Eski Mosque in Yambol and Ahmet Bey Mosque in Kyustendil, realized only a few decades earlier in North-West Anatolia, shows the connection between Anatolia and the Balkans.

Национална научна конференция "Будителският XIX век на българите"

Author(s): Nikoleta Patova / Language(s): Bulgarian Issue: 45/2022

Psihopatija – operativni sustav političke pozornice digitalne kulture

Author(s): Leo Katunarić / Language(s): Croatian Issue: 22/2023

Modern political interfaces are increasingly using linguistic circuits that call for the reshaping of reality instead of traditional promises to upgrade the collective vision of reality. Discourse is renewed by registers from the performance interface, especially artistic performance, which naturally creates a reality intertwined with realities. The culture of deliberately created fake news, the deep unreal, and the canceled culture positions digital culture as an extension of traditional human social tools to create closed circles of ideologizing reality. There is a new discourse at work, archiving data as objects to which metadata is attached as, for example, a public performance pattern. Once activated, such objects can act in human physical reality by playing the role of public performance. In reality, they are like the language structure used by psychopaths or sociopathic groups. It is a language without an original and a goal, a language of constant adaptation to the action of creating and maintaining an interface in which the psychopath could function smoothly. That is why there is an interesting emergence of new forms of artistic performance, such as nft (non-fugitive token) that use both human and digital, bitchain, interfaces to stop the constant collapse of reality into its own instability. Is this a subversion that is always expected in situations where the system is petrified and how is it that such an action occurs as a machine-produced artistic language?

Brisanje kao jezik uspostave post-humane kulture (Izbrisano u Muzeju suvremene umjetnosti Zagreb 2022.)

Author(s): Leo Katunarić / Language(s): Croatian Issue: 22/2023

Our age of digital culture is an explosion of the language of performance and spectacle, and the circulation of self-regulating meanings in all communicative social channels. The claim that identity is performance is long out of date. We have now turned the identity implementation into a manipulation object. For centuries, artists have used the language of theatricalization, excess, multi-layered meaning, and considered subversion a prerequisite for their performance. Such a register is everyday today. Could that be why the linguistic register of scientific research, the discourse of cold laboratory analysis, can become the artistic language of performance of the new era. Is our present-day subversion of the hallucinatory system of data expansion performed in the language of scientific research? The wild dance of the shaman was translated into the language of programming and analysis. I started such a new possible reality of artistic identity as a scientific research, and ended as an artistic project of polyphonic form performed in the Zagreb Museum of Contemporary Art. The project was developed with the language codes of a scientific laboratory through which a human performer negotiates with the machine gods to perform a common identity.

Tracing the Impact of the Digital Virtual Ludic on Immersive Theatre: A Case of Theatre Gamification

Author(s): Dimitrios Charitos,Eleni Timplalexi / Language(s): English Issue: 1/2023

Immersive theatre, a theatrical form emerging at the beginning of the 21st century, invites spectators to become immersed in interactive theatre performances. The use of the term immersive indicates a strong influence from digital media, particularly from virtual worlds (VWs). Immersive theatre and VWs appear to share characteristics. A systematic comparative approach tracing the presence of characteristics shared by immersive theatre and VWs (i.e., virtuality, worldliness, information intensity), among others, still unique to VWs (i.e., agency, ergodicity), reveals that immersive theatre has assimilated some VWs characteristics while still being in the process of negotiating others. The paradigm of pervasive games is brought into the conversation to claim immersive theatre as a partially successful case of theatre gamification, revising theatrical and dramatic conventions, towards what could be called a digitally and ludically inspired neo-dramatic. New intermedial forms of expression could benefit from the adoption of a game/play frame.

Gaining New Insights into Professional Knowledge in Digital Game Art by Taking a Design Perspective

Author(s): Dave Hawey / Language(s): English Issue: 1/2023

Although artists contribute a great deal to what digital game players see on the screen, there is a marked absence in the literature of direct studies of artists working in digital game development. We stress the need to understand these artists’ professional knowledge in a rich and contextualized manner, and beyond technical expertise. In this paper, we describe the design process carried out by an experienced technical artist during game preproduction. We report findings gained through ethnography/shadowing at the Montreal-based Red Barrels studio. We refer to pragmatist and constructivist theories of professional design practice to make sense of its reflective, collaborative, situated, and transactional aspects. This paper draws conclusions on three ideas: (1) the benefits of using design theory to examine design-like reflective skills in game art practice; (2) the utility of qualitative methods to construct a thorough, holistic, and contextualized understanding of professional practice, and (3) how a richer, more elaborate understanding of ‘design’ in game development points to a need for further research on the sociocultural aspects of game experience design.

Дърворезбовани венчилки на възрожденски иконостаси от Югозападна България. Семантичен анализ

Author(s): Vasil Markov / Language(s): English,Bulgarian Issue: 1/2023

This article is the result of many years of research on National Revival Christian churches from Southwestern Bulgaria, part of which are unknown or little known to modern science. It provides a semantic analysis of the symbols in the artistic carvings. Both the cultural-historical stratifications and the influence of folk culture on the investigated artistic images are analyzed.

Informacja o książce Olivii Rybak-Karkosz Badanie autentyczności grafiki artystycznej – aspekty kryminalistyczne, ISBN 978-83-7285-917-4, Wydawnictwo TNOiK „Dom Organizatora”, Toruń 2020

Author(s): Alicja Jagielska-Burduk / Language(s): Polish Issue: 1/2022

The tsifteteli of irony and the dance of the ignorant Lilipuans:

Author(s): Aikaterini Giampoura / Language(s): English Issue: 1/2023

This paper studies the old Greek children’s radio show Edo Lilipoupoli transmitted from December 1977 to May 1980 by the Third Program of the Greek State Radio. The considerations of this paper result from the examination of the content of the radio show regarding its cultural and social parameters and correlations as a collective media project. The insight gained from this endeavour is significant, particularly due to the common claim among the broadcast listeners and contributors that the children’s radio program Edo Lilipoupoli functioned as a “mirror” of Greek society. The broadcast can be therefore understood as a kind of social snapshot depicting the ideological and identity conflict between the conservative and the progressive voices prevailing in society during that time. The analytical interest focuses on one specific song, very popular in the context of the radio show, with the title “We are not Zulu”. This approach will include an analysis of the lyrics in connection to their setting, i.e. morphology, harmony, instrumentation as well as the singer’s performance. Within the framework of this music-aesthetic and linguistic analytical point of view, I will try to identify the role and function of humour in the song and pursue an interpretive approach in the context of its sociocultural implications. The conclusions will form an attempt to bring out the point of view of the show’s contributors.

POSTMODERNISM- THE PARADOX OF THE FUTURE

Author(s): Roxana Silvia Moraru / Language(s): Romanian Issue: 24/2021

Jean François Lyotard applies a new methodological approach to the expressions of postmodern thinking via a palpable binder of experience. The love for both knowledge and wisdom will plunge readers into a universe where writers and philosophers will be reborn by harnessing diverse artistic horizons. Interpretative innovation will gradually reveal itself, familiarizing ourselves with a modern Plato or a postmodern Aristotle. To put it in other words, Jean François Lyotard conducts a comparative analysis between the visions and concepts of ancient philosophers and the characteristics of postmodernist society. The father of postmodernism builds bridges among philosophy, spirit, education, childhood and the capacity of self-taught experienced by both teachers and reformers. He proves to be a subtle observer of the human being, whom he encourages to attain higher goals, that encompass both spiritual and cognitive growth during a literary journey that cherishes the most important role of children, that of philosopher. Would adults and philosophers be able to preserve their inner child defined by desire for knowledge, playful spirit and emotional candor?

Новооткрити подписи на зографи върху две икони от 1738 година, произхождащи от старинното селище Арбанаси

Author(s): Plamen Sabev / Language(s): English,Bulgarian Issue: 1/2023

My research concerns icons, wall paintings, religious texts, church utensils, and carvings preserved on Bulgarian territory. A priority in this regard is the history of Tarnovgrad (present-day Veliko Tarnovo, Bulgaria) and its near and far surroundings. Some time ago, I was looking for answers to questions about the artists in the churches of the cultural and historical village of Arbanasi. I revealed the presence of the name HRISTO, as well as the work of a second stranger named Artist. In the Regional Museum of History in Veliko Tarnovo, two icons are kept (No. 325 ΗΙ/TOM, No. 435 ΗΙ/TOM) on which two identical signatures of the same unknown artist have been preserved. Greek texts: first line, Uncial: ‘X’ (with the barely visible sign ‘=’); second line: ‘K’; third line: ‘Ҁ’; fourth line: ‘T’; fifth line: ‘N.’; sixth line: ‘A’; seventh line: ‘Δ=’; eighth line: ‘1738’; ninth line: ‘μ’; tenth line: ‘απ[...]λλ[...]ος’; and eleventh line: ’30’. The second signature has similar content: first line: ‘Х = К Ҁ Т N’, second line: ‘АΔ=1738’, third line: ‘μ’; and fourth line: ‘απ[...]λλ[...] ος 30’. The correspondingly preserved letters in both icons give rise to possibilities for their interpretation. First thesis: The handwriting in both signatures is undoubtedly identical, but due to the forms of abbreviations used, there are assumptions about their reading. The first letter ‘X’ can be taken as the beginning of a standard attribution formula: ‘Χεὶρ Κωνσταντίνου’ = Κ[ΩΝ]Ҁ[ΑΝ]Τ[Ί]N, translated as ‘by the hand of Constantine’ (or Costa). However, ‘X’ can also mean an initial letter for the name Χριστο, and, accordingly, ‘AΔ’ in the second line can be rendered as αδέρφια (brothers). At the end of the text, the date of completion of the iconostasis with the icons belonging to it is presented: 1738, ‘μ’ – μήνας, απ[ρίλι]ος, or 30, month of April, 30th day. Second thesis: ‘X=’ can mean Χριστο (Hristo the Educator); ‘K’ – Κωνσταντίν/Kώστας (Daskal /Teacher/ Kosta); ‘Ҁ’ – Ҁόιο or Στοίο (Stoio/Stoyu); ‘N.’ – Νέδιο (Nedyo II/Nedyu II); and ‘Δ’ – Δραγαν (Dragan). Often, only the initials are written on the works of artists. This is for the purpose of encoded information that remains clear only to God’s eyes. At first glance, the handwriting of the icons stored in the Veliko Tarnovo Museum resembles that of the works of the well-known Daskal Hristo. In my previous publication, I noted that this second author is very close to the first master, but with his own individual characteristics. If we logically assume that ‘K’ means Kώστας (Κosta), then he is the second Educator and the author of the considered icons at the same time. The recorded month suggests that they were made in a studio at the end of winter, and perhaps the entire iconostasis was assembled with the onset of spring, in the third bright week after the Resurrection of Christ (13 April 1738). An additional collection of signatures and studies from archival documents, as well as analyses of icons and frescoes after restorations, would shed more light on the authorship and activities of this atelier.

The Nothing, the Void and the Silence in the Art of Yves Klein. A Phenomenological Interpretation

Author(s): Mihaela Pop / Language(s): English Issue: 4/2023

This paper intends to offer an example of the way philosophy and artistic creativity could be connected. Using philosophical concepts and their profound meanings one can get a deeper and larger image of what art could reveal. We are going to use the already mentioned concepts as they were studied by two of the most relevant philosophers, Hegel and Heidegger. Those concepts prove their utility in the understanding of how the human thought functions and how it is capable to make the human being aware of his condition and also to make possible the human creativity, in art especially. We will discover that this process of creativity is based on the freedom of the human consciousness capable to surpass the nature restrictions imposed by human natural condition. This freedom of consciousness develops during life and experience and generates all the individual diversity. The human being as consciousness gets thus a wider capacity of expression assured by the wide range of determinations the thought gets during life. The artist is one of those capable to express this in various symbolic forms using however simple materials. The artistic works reflect thus exactly the superior consciousness and self-consciousness to which the artist elevates himself proving thus the ontological character of the human thought. We chose the works made by Yves Klein, a French artist of the mid of the 20th century.

A (Post)philosophical Argument on Anti-Art and Digital Transgressions of self-Fashioning. From Dada to Data, or How to Curate Selves on Instagram?

Author(s): Oana Şerban / Language(s): English Issue: 4/2023

This article tackles the possibility to understand the process of curating the digital self by treating virtual identities as a form of anti-art. The museification of the world engaged by social networks such as Instagram, a platform canonically devoted to visual content, seems to restore the Dada tradition of the photomontage, as well as the turn to the routine of our quotidian existence, aestheticized through live transmissions and daily vlogs. Insta-gramming became a digital practice that progressively installed what Richter used to call “the alienation of photography”, as there is no aesthetic claim for the visual content, but neither a profound ignorance of artistic criteria. Therefore, anonymous masses homogenized as co-performers of life-casting online consume results of a digital curating based on the Dada photomontage, the Futurist appetite for technology and the Surrealist automatic creation or psychic automatism. My argument is that as digital curation progressively shared with vanguards such principles, virtual identities became anti-art objects. Moreover, curating the self is no longer an artistic performance, but rather a social skill. In the last part of my study, I will bring to the spotlight two competitive narrations on digital curation, productive, respectively consumptive curation. In my opinion, these two paradigms raised by Davis are relevant for developing the commodification of the self, as well as new literary practices based on Bourriaud’s relational aesthetics. Consequently, I argue in favour of assuming the curation of the self by digital means as a daily practice entangling creativity and leisure, understood as creleisure, a concept coined by the artist Hélio Oiticica back in 1969. As aesthetics tends to track down such behaviours for their transgressive potential, measuring the historical shift of autocreation from Dada to Data perspectives, philosophy still has to work on the consequences of such phenomena on self-care, self-knowledge, and authenticity.

The Cultural Dexterity of the Latvian Musical-Comedy Group Čikāgas Piecīši

Author(s): Inta Gale Carpenter / Language(s): English Issue: 35/2017

The article discusses the continued relevance of the Čikāgas Piecīši (The Chicago Five), an American-Latvian musical-comedy troupe that toured Latvian exile communities and performed in Soviet and post-Soviet Latvia over the span of some fifty years. It asks the question: Given the diverse and contentious nature of their global audiences, how did the Čikāgas Piecīši sustain their appeal and their authority as spokespersons for Latvians worldwide? Five sources fundamental to their success are identified and analysed. In their concerts, the Čikāgas Piecīši offered a lively new form of social communication to their audiences. While their biographies connected them with the culture and values of their elders, the cultural authenticity they brought to the stage foregrounded Latvian and American experiences and presented a more inclusive worldview than the one they had inherited. As they gently challenged prevailing boundaries, including those that forbade contact with Soviet Latvia, they changed the register for speaking about Latvian exile life by adding humour to the accustomed solemnity of community programming. Their work extended the notion of intertextuality beyond that of verbal texts to include musical sounds and images. My sources derive from participant-observation over many years, both in the Latvian community in Indianapolis and at Latvian Song Festivals in North America where the performances of the Čikāgas Piecīši were regular crowd pleasers. I consulted reviews and interviews published in the U.S. and in Latvia, articles in exile publications (such as the literary journal Jaunā Gaita), and conducted interviews with members of the group.

Intermediální umělecké projekty v profesní přípravě učitelů primárního a preprimárního vzdělávání

Author(s): Hana Stadlerová,Daniela Taylor / Language(s): English Issue: 3/2023

Vocational training of future teachers of primary and pre-primary education strives to prepare future teachers to succeed in pedagogical practice as best they can. That is why they should have the opportunity to connect theory and reflected practical experience, not only within pedagogical practices. One of the possibilities is intermediate artistic projects offered to students of the Faculty of Education, Masaryk University, Brno, within didactic preparation and independent disciplines. They provide students with additional knowledge, help to gain experience, and emotional experience. Implemented intermediate projects are also a source of valuable research data. Their analysis revealed essential conclusions that can improve the training of future teachers.

Използване на иновационните образователни технологии в обучението по музика

Author(s): Petya Stefanova / Language(s): Bulgarian Issue: 4s/2023

As it is well known, music education aims to: 1. Teach students to listen to music. 2. To learn to understand the music they listen to. 3. To be able to play music. 4. To be able to compose music - eventually. The paper shows the possibilities of using innovative educational technologies and, in particular, interactive presentation systems at each of these stages. Students of the digital generation are accustomed to accept multimedia information with their interactive devices - phones, tablets, etc. They also expect to receive this kind of information from their teachers, including in music education. The electronic whiteboard makes it possible to create a presentation interactive, multimedia and Internet-connected, thus meeting the expectations of digital students. The first results of the application of the interactive whiteboard in music education are very encouraging and are mainly expressed in a significant increase of the students' attention to the material taught.

Изкуственият интелект в звукорежисурата

Author(s): Pavel Stefanov / Language(s): Bulgarian Issue: 4s/2023

Artificial intelligence is more and more present into all areas of human activity. Art, and music in particular, is no exception to this trend. In the field of sound engineering, there are numerous activities where AI can assist the human sound engineer with great success. For some sound engineering tasks, AI applications are very useful and have great practical positives. In sound processing, analysis and decomposition of a stereophonic mix into its component parts, AI has had considerable success. Cleaning up certain elements of the phonogram is also an area of enviable achievement for AI applications. In a process such as music mastering, AI is again doing quite well (though not perfectly) insofar as its functions consist of application of detailed analytical operations, established algorithms, extrapolation, and synthesis. In more complex tasks such as mixing, for example, where different approaches make the possible variations immeasurably more numerous, AI still has relatively modest success.