Комплексно влияние на дисциплините „Рисуване“ и „Живопис“ върху формирането на професионалната компетентност у бъдещите художници живописци

Author(s): Kostyantyn Parkhomenko / Language(s): Ukrainian Issue: 2/2017

The article proves the importance of the discipline “Drawing” for the becoming of the professional qualities of the artist-painter. A system of requirements that affects the professional level is defined. The professional qualities are described. The necessity of systematic practical work is proved. The methods of teaching fine arts, which were developed by well-known artists and teachers, are studied. The methodical sequence of construction of the educational process, which begins with drawing from nature, is described. It is noted that the figure is a fixation of the volume and the transmission of information about the form of the reality being studied. The necessity of mastering and approaching constructive thinking and vision is shown. The importance of searching for tonal nuances in work is characterized. It is justified that drawing and painting are means of cognition of the surrounding reality. The essence of the discipline “Painting”, which influences the formation of professionalism and shapes the student, which forms the vision of the color and tonal spot, which teaches the integrity of perception and the transfer of what is seen on the plane and the organization of unity is revealed. The interrelation between the discipline “Drawing” and the discipline “Painting” is prove.

Георги Ингилизов и българската маринистика

Author(s): Margreta Grigorova / Language(s): Bulgarian Issue: 1/2018

The paper presents maritime writer Georgi Ingilizov’s (1955–2018) concepts, ideas and initiatives (editorial activity, filmography) related to the status of Bulgarian maritime fiction and its place in Bulgarian literature. The paper also traces the maritime writer’s creative path and addresses the main aspects of his maritime prose related to sailors’ values and problems. The text corresponds to an interview with the author, published in this issue.

Творецът и неговият модел

Author(s): Diyana Nikolova / Language(s): Bulgarian Issue: 1/2013

The text analyses some particular features of the culture of the Antiquity and their projections into Western art, more specifically the ideas of love and happiness, of the artist/creator, of the roles of women in society and art. By tracing literary examples from the Antiquity, as well as literary historiography I will highlight the stable lines of representation which have also fed into the topos of West European imaginary – the image of the woman artist/creator (Sappho, Corinna), the myth of the male artist/creator and his model – “muse” (Kampaspa, Phryne, Lais, Aspasia, Cynthia, Fornarina), the myth of Pygmalion and Galatea.

Фантастично и фантасмагорично в контекста на романтическата традиция

Author(s): Boris Minkov / Language(s): Bulgarian Issue: 1/2019

The present study attempts to abandon the genre-related discussion of the fantastic. For this purpose, it develops a working concept of phantasmagoria: image projection of cognitive universalia which have been frozen after passing throught the prism of the ironic turn. To trace the various characteristics of the phantasmagorical, the article provides examples from the work of Е. T. A. Hoffmann, Clemens Brentano, Wilhelm Hauff and Heinrich Heine. In relation to the romantic tradition of phantasmagoria after the 19th century, it discusses Stanisіaw Lem’s The Star Diaries. An essential point in the study is the contention that phantasmagoria is unrelated to the ‘realistic art-unrealistic art’ opposition.

Varia: Dramatization of Politics in the Age of Shakespeare

Author(s): Alexander Shurbanov / Language(s): English Issue: 1/2019

The article is concerned with the relationship between politics and aesthetics within the context of English Renaissance drama. It is argued that during the Renaissance politics was very much at the centre of all aesthetic reconstructions of reality. Renaissance writers were keenly interested in the problematization of traditional Christian morality by the advent of political realism, and this interest can be found at every structural level of their works. The article examines the reflection of the issue in a recurrent binary pattern of contrasted characters in select plays by Marlowe and Shakespeare.

Митологични изображения от дърворезбовани царски двери в Югозападна България

Author(s): Vasil Markov / Language(s): Bulgarian Issue: 1/2022

Mythological symbols are depicted on wood-carved royal doors, originating from Revival Christian churches in Southwestern Bulgaria. The emphasis is on the images of dragons. The semantics of the symbols is analyzed. Their connection with the topics of fertility and the protection of the sacred space is studied.

Промени в методологията за изследване на съвременното изкуство на Украйна: представяне на женствеността

Author(s): Daria Lutsyshyna / Language(s): English Issue: 1/2022

The article discusses the shift from the methodology of the Soviet totalitarian period in Ukrainian art history to the modern methods that are more appropriate for the interpretation of contemporary Ukrainian art. The analysis showed that, during the Soviet period, art and art history in Ukraine were under strict ideological and political control. Art history and criticism were widely used as a means of ideological propaganda, and therefore art studies could not fully represent and interpret art. A considerable part of the art phenomena was ignored by researchers due to the hierarchy of trends and genres of art established in the USSR; art historians had to assess the “validity” of an artwork or an artist according to the official ideology. The variety of methods and research instruments was limited and insufficient for the research of contemporary Ukrainian art, including feminist art. The creative work of the Ukrainian female artist Alina Kopytsa is shown as an example in order to demonstrate the expedience of modern approaches, which are still not common for Ukrainian art history. Thus, a wider range of methods and approaches is regarded as the means to develop an effective methodological background, and to provide a better understanding of contemporary Ukrainian art.

Приложение към: Васил Марков. Митологични изображения от дърворезбовани царски двери в Югозападна България

Author(s): Vasil Markov / Language(s): Bulgarian Issue: 1/2022

(Self-)Portrayals of Mixed Cultural Identities in the Works of Emily Carr and István Fujkin

Author(s): Krisztina Kodó / Language(s): English Issue: 2/2021

The article examines the work of two artists, Emily Carr (1871 – 1945) and István Fujkin (1953), focusing on Carr’s early and mature “Indian paintings,” and Fujkin’s “Blue Owl” series, completed between 2001 and 2005. The paintings chosen from among Carr’s works are thematically linked to Klee Wyck (1940), her first fictional work describing her travels and experiences with the First Nations People in British Columbia. Though the two artists come from different cultural backgrounds, since Carr was descended from English immigrants and Fujkin is a Hungarian born in the former Yugoslavia, there are similarities in their work. Both artists depict work across time and make use of transnational imaginaries of nature and Native Canadian cultural symbols that ultimately function as a bridge between Native and western culture. Fujkin’s talent lies in his ability to “paint the music” composed and performed by Canadian Mohawk musician Robbie Robertson. Emily Carr’s paintings offer images of her visionary world that transcends cultural identities and provides an insight into nature infused with spiritual and magical elements.

Екзотичният друг: едно внимателно приближаване (Мартонова, Андроника. „Между миграция и уседналост…“)

Author(s): Aleksandar Donev / Language(s): Bulgarian Issue: 2/2022

The cinefication of museums: from exhibitions to films. The case of Tate Modern

Author(s): Aluminé Rosso / Language(s): English Issue: 1/2023

Since the end of the 20th century, museum institutions have been adopting the logic of communication, promotion, and administration typical of cultural industries, mainly Cinema. In 1994, Andreas Huyssen argued that the museum, as an elitist place of preservation of canon and high culture, gave way to the museum as a mass medium. Cinema became the paradigm of contemporary cultural activities whose new exhibition practices respond to the changing expectations of the public and their constant search for stellar events.This process is evident in the increasing use of banners, marquees, and all manner of resources aimed at promoting the temporary exhibitions gaining their place as the main attractions of art museums. Moreover, with the advent of social media, the phenomenon of cinefication of the museum has accelerated. Exhibitions are now titled, conceived, promoted, and distributed as films, while artists, adorned by the figure of the genius, are presented as parts of the art history star system.In order to highlight this phenomenon, we present an analysis of the programming and promotion of temporary exhibitions at Tate Modern, the paradigm of 21st-century museums. This institution not only titles its exhibitions in a cinematographic manner but also produces trailers and posts them on its website and social media. Our work focuses on one exhibition in particular: Picasso 1932, Love, Fame, Tragedy. To this end we observed both the curatorial discourse and the communication strategies applied by Tate. This paper is part of a research project that includes MoMA, Malba, Centre Pompidou, and Reina Sofia. The study of this phenomenon will provide an overview of the epochal style of modern art museums in the conception and communication of modern and contemporary art exhibitions.

Clashes of temporality in AI and artistic creativity

Author(s): Nevena Ivanova / Language(s): English Issue: 1/2023

Art creates a specific relation to time and especially to the present moment. It opens the experience of the present towards its indeterminacy and emergence. On the contrary, AI does not know the present. It recognizes only the past and future. We could even say that artificial neural networks do not “know” time at all. Instead, they know only logical functions which process patterns of information. Yet, what makes time “time” is genuine transformation, which happens outside of the abstract realm of logic. I support these observations by analysing two works of art: Bill Viola’s The Raft (2004) and Hito Steyerl’s This Is the Future (2019). While artistic creation opens up the intervals “in-between seconds” for an unpredictable and transformative event to occur (The Raft), AI closes these intervals and fastens the future into predictability calculated on the basis of past data (This Is the Future). Although this machinic operation makes the present even more unpredictable and prone to catastrophes, its potential for transformation seems to be withdrawn.

Creativity through autonomy: The real challenge of the computer art today

Author(s): Nikoleta Kerinska / Language(s): English Issue: 1/2023

This paper questions the notion of creativity found in certain artworks produced with A.I. technologies. The artistic examples concerned are: The Giver of names by David Rokeby, Oscar by Catherine Ikam and Louis Fléri, and Emotion Vending Machine by Maurice Benayoun. These artworks were selected because they stand out for their autonomous behavior in front of the human public. In this context, creativity is revealed as a consequence of the functional autonomy, which is very typical of these pieces of art. The intention is to establish a relationship between the notion of autonomy and that of creativity, reviewing their meanings and applications in philosophy and in the field of life science. For this, the notion of autonomy is approached from Kant’s definition as a decisive value indicating the moral principle that defines the individual and his free conduct, and then approached as a property of life from Francisco Varela and Humberto Maturana’s research. Autonomy is also a tendency that characterizes a general process of technical lineages according to Chapoutier and Kaplan. In all these studies, autonomy presents complementary meanings that help us to draw parallels with the notion of creativity. The analyzed artworks allow us to visualize some ways of simulating creativity, while offering unique aesthetic experiences. From a broader perspective, this paper promotes the vision that some computer artworks open up as multi-sensory and multi-conceptual universes, projecting original ideas, and making us feel the very human substance of these technologies. Interacting with these artworks, we are placed at the heart of the aesthetic metamorphosis provoked by the phenomenon of the computer revolution.

Artificial intelligence: Three philosophical interpretations of the anthropocentric frame of reference

Author(s): Hristina Ambareva / Language(s): English Issue: 1/2023

The author discusses the problem of what AI is and how we can understand the “anthropocentrism” of AI from a philosophical point of view. Three interpretations of the relationship between humans and technology are presented: 1) AI-aided human intelligence, based on the extension theory of technology (Stiegler, 1998); 2) human-aided AI intelligence, based on ideas related to political economy (Crawford, 2021); and 3) the relativity of the anthropocentric frame of reference (AFR), based on the taxonomy of species. The purpose of the article is to provide considerations of the three different interpretations of the relation-ship between humans and technology and how they lead to different opportunities to answer the question of how we can understand AI’s creativity.

Book review. After Thomas Kuhn. The Structure of Aesthetic Revolutions, by Oana Șerban (Boston, Berlin: De Gruyter, 2022). A theory of aesthetic validity, inspired by Thomas Kuhn

Author(s): Diana Ghinea / Language(s): English Issue: 1/2023

Book review. After Thomas Kuhn. The Structure of Aesthetic Revolutions, by Oana Șerban (Boston, Berlin: De Gruyter, 2022)

Nowa deiksa? Nowa anafora? Nowa semantyka? Językowa gra w oczywistość płci

Author(s): Arkadiusz Jabłoński / Language(s): Polish Issue: 1/2021

The investigation of language and language processes is based on the assumption that they are related to a certain verifiable reality. Still, not all parameters of language express the reality in an exact manner. Moreover, the postulate to render strictly the actual properties of designates in language may reveal the hallmarks of a manipulative communication game. In the paper, an analysis of some fragmentary, chosen, although in the general perspective viewed as representative examples of use of certain elements of deictic and anaphoric character in marking the sex of a designate (not always identical with the grammatical value of gender in Polish) is proposed in terms of such a game in the texts from the contemporary Polish communicative domain.

On the Parallel Struggles of Photography and GAN-generated Imagery

Author(s): Martina Šimkovičová / Language(s): English Issue: 1/2023

This article analyzes certain aspects of the reception and acceptance of the emerging technology of GAN generated visuals (DALL-E, Midjourney, and Stable Diffusion) by the general public as of mid-2021 to early 2023. It will deal specifically with the negative and positive expectations of it and put them into the context of social acceptance and expectations surrounding the formation of the photography medium in the early 19th century. Both of the inventions mark a milestone in the timeline of a data-driven society. Both tools utilize a reference to reality or its visual coding. GAN image generators, as well as photography, were expected, as a product of science, to deliver almost mythically perfect, objective outputs. While photography had previously been used in pseudoscientific projects to support racist claims, the public appears surprised by the bias of the GAN datasets, and their creators are currently looking for ways to eliminate it through process moderation. The goal of using this comparison is to explore a common trait of both epochs: the affinity for devices, specifically the idea of “a black box”. It will aid us in describing the relationship of the data society to itself based on machine-based creation of visuals with varying degrees of autonomy and generativity. Finally, we will examine the practical implications of the discussed aspects in the near future.

Taboo Topics in Limited Series Offered by Internet-Distributed Television

Author(s): Zuzana Kvetanová,Jana Radošinská / Language(s): English Issue: 1/2023

The broader structural and organisational changes associated with the global expansion of Internet-distributed television have changed the ways in which we perceive the qualitative level and socio-cultural significance of television dramas. Individual transformations can be perceived in connection with the hybridisation of genres, the thematic variability of individual works, the number of episodes and their average length, or relevant considerations about the need to better understand TV dramas as products that are qualitatively equal to ambitious film production and in many respects even overshadow it. A currently resonating area of interest are mini-serials/ limited series, which target audiences often prefer over other types of episodic works with a significant number of seasons and instalments, emphasising their high-end quality and refined production value. The popularity of this type of content results from engaging and complex narrative structures, which often include explicit depiction of taboo topics, such as stories and plotlines related to death (or old age and/or dying), sexual behaviour, various deviations, extreme violence or self-harm. The presentation of these publicly suppressed topics in limited series is the focus of our interest. The main goal of the study is to reflect on the current popularity of television mini-serials in the environment of Internet-distributed television, taking into account the taboo topics that are portrayed in them. We achieve this goal on the basis of theoretical reflection on the issue, analysis of the thematic specifics of selected television works and subsequent synthesis of acquired knowledge.

Literary and Philosophical Text in the Interconnection of Opinions (G. Vámoš: Atoms of God and The Principle of Cruelty)

Author(s): Marcela Antošová / Language(s): English Issue: 1/2023

This paper focuses on the writer Gejza Vámoš (1951 – 1956), namely his two publications of different natures, i.e. the novel Atoms of God and his Dissertation thesis in philosophy, The Principle of Cruelty. These are texts that were more or less created in the same time period, and in which the writer communicated his philosophical worldview in almost identical ways. The aim of this paper is to show the semantic proximity of philosophical and literary communication, and at the same time to make accessible how the various philosophical theses were “imprinted” into the novel through a literary setting.

Application of Virtual and Augmented Reality in the Context of the Development of Art Marketing Communication in the Space of Selected Cultural Institutions

Author(s): Lucia Spálová,Marek Štosel,Lukasz Pawel Wojciechowski / Language(s): English Issue: 1/2023

As new technological tools, virtual and augmented reality caused a revolution in culture and art during the critical situation caused by the Covid-19 pandemic. It allowed the viewers to become the co-creators of art, which then changes under their influence. The property/essence of interactive art is the creation of a situation in which the visitor to a cultural institution comes into direct contact with an art object, which fundamentally changes the reception of the artefact. The aim of this scientific study is to identify the hybrid models of visitor participation in the artistic events hosted by Slovak cultural institutions – both offline and online – with a focus on interactive technologies. Using the case study method, we analyzed the contradictions in the definition of interactivity in terms of the pragmatic enhancement of the visitor experience in the cultural institutions (interactive work versus interactive marketing communication) in the interdisciplinary contexts of selected cultural institutions: Ponitrian Museum, Bratislava City Museum and Poliankovo Digital Gallery. The results show a scarce use of augmented reality in the art marketing communication of Ponitrian Museum, and interactive artefacts being part of the exhibition in the other analyzed institutions.