Around the Bloc - Russia Halts Release of U.S. Action Film
‘Hunter Killer’ also fighting for release in Ukraine after censors say it glamorizes Russia.
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‘Hunter Killer’ also fighting for release in Ukraine after censors say it glamorizes Russia.
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Cornucopia; it is a Latin origined term, meaning horn of plenty. Examining the history of Western art; it is depicted as a horn, or horn shaped pot filled with flowers, fruit and sometimes coins. In art, it has been used for symbolic and decorative purposes as a symbol of abundance, plenty, success and good luck. The emergence of Cornucopia, described in ancient Greek mythological stories; it is possible to be related to the symbols like “horn-fertility-moon” in the belief of the Mother Goddess in earlier times. Today, the concept of fertility; it is observed that it is handled with a different approach than the previous periods with the change of production forms and the effect of capitalist system. As a result of this understanding; approaches such as global consumption culture, mass production, the desire for profit that condone to disruption of nature, and the commercialization of nature have emerged. In some works of art, the Cornucopia symbol appears to be used in critically for this understanding. In this study; even today, the interpretations of Cornucopia as a symbol of abundance in artistic design and works are examined. The change of values represented by Cornucopia from past to present is discussed. In this manner, it is aimed to reveal the cultural transformation. It is aimed to raise awareness about Cornucopia, which is a symbol of fertility.
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Cities are defined as the place where they live on a certain community, but also reflect the perceptual accumulation of a settled culture consisted as a result of the historical process of societies and however social reality. In the formation of urban images, many factors such as historical process, geographical structure, socio-economic and cultural development exist together. All the material and spiritual values that existed from the past to the present form the basis of the image and gain a spatial dimension together with the existence of the body. As for identity, it experiences the experience of a new situation in each of describing itself in circulation at these spaces. Through the influence of the geography lived in it, the ways which individuals perceive the outside world, the cultural values they produce are the determining factors on all kinds of social actions. Until today, the concept of image which goes on through more personal objects proceeds as artistic approaches and attitudes in the context of image production in the city. In the cities, wall paintings, ceramic works and similar artistic approaches in public spaces present the interaction of the city with its geography and all the values it contains. Within the context of the study, the perception of the urban image and the artistic works that emerged as a result of this situation were examined. In today's world where artists are looking for different places and exhibition styles, art works gain a whole new dimension. Consequently, in the new world, which is in a continuous movement, the urban images are transformed into artistic expression forms in the public space by taking artists under their influence. It is thought that the related expression form is approximated one step closer to the audience in the public sphere and contributes to the perception of society.
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The subject of this article is the characterization of a particular variety of films whose narrative structure has been based entirely or predominantly on static photographic material. Works described as films from photographs, photo-films or “photographic stories” have not yet been extensively studied in a manner that would capture the phenomenon in a comprehensive manner. The lack of terminological systematization provokes scientific reflection not only on specific works, but also on their place among existing genre classification. The originality of the photo-film poetics has been presented in combination with iconographic film, animation and found footage, with which it exhibits formal similarities; these genres share a common history. Theoretical considerations are supported by the analysis of selected photo-films from Polish and foreign cinema.
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The text is an analysis and interpretation of found footage documentaries: “A Song of Air” by Merilee Bennett (1988) and “Sea In The Blood” by Richard Fung (2000), which were constructed from family footage from the archives of their creators. The text is an attempt to show the potential of found footage as a creative technique based on editing in the construction of the narrative of the past identity. The authors of the text refer to, among others, points made by William C. Wees in the work “Recycled Images: The Art and Politics of Found Footage Films” and Jaimie Baron in “The Archive Effect: Found Footage” and the Audiovisual Experience of History. They refer to the category of constructed identity, presented in Katarzyna Rosner’s work “Narracja, tożsamość i czas” [“Narrative, identity and time”], and David Carr’s concept to emphasize how the use of home movies allows individual film-makers, being the subject of the work, to tell individual experiences and incorporate family relationships in a narrative story dealing with identity.
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Review of the book by Magdalena Kempna-Pieniążek and Przemysław Pieniążek „Inny/Obcy. Transnarodowe i transgresyjne motywy w twórczości Petera Weira” [„Different/Other. Transnational and Transgressive Motives in the Works of Peter Weir”] (2017). In the first Polish monograph devoted to Peter Weir, the authors propose a holistic reading of the Australian director’s achievements through the prism of a diverse character of the struggle with what is different, foreign, incomprehensible present in his films. In the review of the book, Karolina Kostyra develops the authors’ observations, providing further arguments Kempna-Pieniążek and Pieniążek proposed approach to Weir as a director struggling with cultural difference and perceiving in phenomena, that from the perspective of Western view may appear as irrational, their proper rationality, not depriving the analysed films of the incompleteness and secrets contained in them.
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It could be said that the real challenge of the Anthropocene is to confront the question of a converted gaze, in a way that requires and exceeds Kant’s notion of an extraterrestrial standpoint of standpoints. In a world where political points of view seem contained within impenetrable filter bubbles, how might Wittgenstein’s account of aspect-blindness with respect to bistable percepts point us to a new understanding of the loss of disparation caused by what Rouvroy and Berns call algorithmic governmentality? Husserl’s account of the melody as paradigmatic temporal object, which is fundamental to Stiegler’s account of the controllability of perception, desire and behavior, could be revised in such a light, because the peculiar dimensionality of the visual image is still crucially at stake in any new geopolitics of the sensible to be found or invented in a world dominated by the ubiquitous digital screen.
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This paper approaches the intersectional field between art and technology from a Flusserian perspective applied to an interesting example: images generated through the program Google Deep Dream. These digital images that look like surrealist paintings are made through a distortion in Google’s artificial neural networks. I argue that these images problematize philosophical dualisms, like those between human intelligence and artificial intelligence, authorship and anonymity, individuality and collectivity, domination and deviation, art and technology.
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The paradigm of embodied cognition provides a perspective for rethinking the nature of experience, intersubjectivity, and the interaction of the human animal with its physical and sociocultural environments. Embodied cognitive science can be a productive framework for the study of aesthetic experience and visual communication, enabling us to transcend the cognitivist paradigm of the twentieth century, understood here as the view that cognition is the rule-based manipulation of symbolic representations in a disembodied and decontextualized mind. Summaries of key concepts of embodied cognition are provided, with suggestions for their use in the exploration of aesthetics and visual language.
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Aesthetic reactions occur when cognitive and affective elements interact, in diverse arts.Affective elements result from past Pavlovian conditioning events and other sources.Compounding raises these effects to the level of aesthetic reactions. Properties of domains in which aesthetic reactions occur are identified. Cognitive ability is selected phylogenetically by the discernment of beauty. Aesthetic reactions help maintain competencies like language, conceptualization, and abstract thinking.
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This article presents a new approach to studying aesthetics by weaving together a thread of ideas based on investigating the problematics of the philosophy of art from a behavioral paradigm in order to exceed the margins of aesthetics. I claim that it makes no sense to ask if something is art, but rather we should be looking out into the manners in which art subsists, consists, and insists itself. Several notions of what I call behavioral aesthetics are proposed such as observation, aesthetic experience and aesthetic conditioning, behavioral materialism, out-comes, behavioral memory and replication or acquisition, interaction and intra-action, emotional engineering, artificial instincts, aesthetic dissonance, and the problem of measurement. The proposed goal of behavioral aesthetics consists in studying the process of individuation as constitutive of art with the methods of Bernard Stiegler’s general organology and genealogy of the sensible. The article presents a behavioral stance as a borderline mode for approaching the genealogy of aesthetics. I mostly refer to Tania Bruguera’s Behavior Art School and Wright Judson’s Behavioral Art, and the paradigm of new materialism, notably agential realism of Karan Barad.
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Odjeća je do našeg stoljeća proučavana kao etnografski predmet materijalne kulture. Strukturalističko-funkcionalni pristup se počima razvijati u prvoj polovici našega stoljeća i svojstven je modernoj etnološkoj i srodnim znanostima o kulturi. U tome je knjiga Gabrielle Schubert zasigurno noviji, najopsežniji rad koji potiče daljnja razmišljanja. Autorica analizira odjeću kao predmet etnološkoga proučavanja u funkcionalnom odnosu prema ljudima te i njezinu društvenu i kulturnu vrijednost u dijakronijskoj vertikali od prošlosti do sadašnjosti. Odjeću i druga materijalna dobra autorica ispravno smatra rezultatima vještine promišljanja pojedinaca i skupine ljudi, te oblikovnim izrazom unutarnje težnje društvene cjeline.
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Hardly any other topic in music theory is as tradition-bound as that of harmony. The divergences in this matter between the Germanic and French traditions, and the resultant pedagogy in music schools and conservatories, are remarkable. For example, solely on the topic of modulation, we see that a) the German term “Terzverwandtschaft” has no French equivalent and b) in Germanic schools chromatic modulation is explained in relation to the tonic of the outgoing tonality, whereas in the French tradition it is seen as a special resolution of its dominant chord. Consequently, German and French harmonic analysis of this repertory split along these lines; a comparison of German articles about Debussy with the way his music is (mostly orally) analysed in France clearly shows this divergence. Is it possible then that the didactic methods themselves influenced composers and thus the development of music? Debussy and Schoenberg, who shared a common stylistic origin with Richard Wagner and the Post-Romantic composers, both threw open the doors to the musical aesthetics and languages of the 20th century, even if they led in different directions in France and Austria Already in their early works, the characteristics of Impressionism and the Second Viennese School were on clear display. In examining Schoenberg’s early Lieder (“7 Early Songs” through opus 6, written over the period 1894 – 1905), we can see that his compositional process was predominantly contrapuntal with its use of modulating chord progressions and non-harmonic tones. Similarly influenced by his own pedagogical context, Debussy’s “Mélodies” (“Ariettes oubliées”, “Chansons de Bilitis”, “Trois chansons de France”, “Fêtes galantes”, written over the period 1885 – 1904) illustrate his “acoustic” harmonic thinking in which primary importance lies in dominant harmonies with characteristic alterations and added tones. The work here presented will show that it is likely that the respective styles of both composers derived from the traditions and didactic conventions with which they were confronted and that these schools of thought influenced the later development of atonality through to the French musical aesthetics of the 1970s (i.e., musique spectrale, Grisey, Murail, Manoury, Levinas).
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Konstantin Iliev thought about his Second Symphony (1951) that it is the first dodecaphonic composition in Bulgaria. However, previous research suggests that the composer might have misunderstood the method of dodecaphony because this work does not represent twelve-tone music in its common understanding. Here, a look at Iliev’sexplicit poetics is insightful. This examination leads to an analysis of the opening movement of Iliev’s Second Symphony: First, the composer’s use of dodecaphony is described. Second, the question is raised, how the post-tonal musical language influences the musical form: How does Iliev compose within the framework of a musical genre, whose form is usually considered as incompatible with post-tonal music? Iliev’s reception of Alois Hába and pre-classical instrumental music proves to be significant influences during this formative time of his artistic development.
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Konstantin Iliev thought about his Second Symphony (1951) that it is the first dodecaphonic composition in Bulgaria. However, previous research suggests that the composer might have misunderstood the method of dodecaphony because this work does not represent twelve-tone music in its common understanding. Here, a look at Iliev’sexplicit poetics is insightful. This examination leads to an analysis of the opening movement of Iliev’s Second Symphony: First, the composer’s use of dodecaphony is described. Second, the question is raised, how the post-tonal musical language influences the musical form: How does Iliev compose within the framework of a musical genre, whose form is usually considered as incompatible with post-tonal music? Iliev’s reception of Alois Hába and pre-classical instrumental music proves to be significant influences during this formative time of his artistic development.
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Emerging in sync with the 20th century political events in Poland, Krzysztof Penderecki’s “Polish Requiem” becomes an œvre devoted to the Polish history that is being “updated” continuously by its author for a period of twenty-five years, by means of adding new parts, related to historic events and personæ. This method of “long-term” composing, characteristic to this author, loosens the framework of opus musicum, and exposes it towards a continuous process of creation; it makes the “Polish Requiem” a work in progress – without a period mark at the end of it, expecting to be updated – eventually…
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In this essay the concept of »new wave« is related to the concept of »crisis«, on the basis of accordance of the main topics that have emerged out of these two different kinds of cultural discourse. The very term »new wave« indicates the period of the beginning of eighties characterized by the specific cultural expressions bounded with the phenomenon of the youth subculture in Yugoslavia. Although initiated by impulses from other cultures (first of all by the phenomenon of anglo-american punk), the »new wave« expression has elaborated the considerable segment of local reality. For example, the concept of »New primitivism« on one hand, and the »Neue Slowenische Kunst« on the other, have developed their symbolic activities playing with a stereotype of the two main cultural identities that »cross« the Yugoslav space: on is »Balkan«, »oriental«, the other is »European«, »western«. Modified in numerous ways, but loosing its stylistic, ironical quality that characterized its sub-cultural elaboration, this stereotype has become the leit motiv of the later explanation, even official, of the political crisis in Yugoslavia. In a similar way, the »new wave« activity, partially leaned on the western formula in creation of music, art, images and life styles, has anticipated the destruction of the myth of originality and uniqueness of our culture. What was then considered to be an »epigone«, a »dishonest imitation of the West«, hardly a decade later has merged into the common desire for »entering Europe«, which has characterized the discourse of crisis.
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