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TOWARDS A METHODOLOGY FOR INTERPRETING VISUAL IMAGES AS CYBERNETIC SYSTEM: LACAN AND DELEUZE

Author(s): Cecilia Inkol / Language(s): English Issue: 1/2023

This exposition endeavors to outline a theoretical framework for a methodology to interpret visual images that draws on cybernetics, semiotics, psychoanalysis and philosophical ideas. Using images, aesthetics and artistic practices as a means of generating new understanding requires translating, deciphering and interpreting those artistic products and/or processes. How can one decipher the system of visual language that underlies artistic productions? I suggest that cybernetics is requisite for such an endeavor. Cybernetic theory is the science of relations within a system, taking as its problematic the relation between a system and its productions or output; in some instances, it studies how the productions of a system influence the system itself. This exposition endeavors to articulate aesthetics or artistic works in terms of a visual language and as a cybernetic enterprise in the context of art-based research by drawing on the ideas of Lacan and Deleuze. For Lacan, aesthetics exists as a primary mode of discourse for the articulations of the unconscious, as evidenced in images in dreams, art and fantasy. Lacan is renowned for his dictum that the unconscious and its productions are structured like a language, but the kind of structure of meaning at work in the unconscious is less related to the structural grammar of a natural language than the syntax of mathematics and cybernetics. Drawing on Lacanian dream analysis, I evince how such an approach could be applied to aesthetic phenomena. Deleuze presents a semiotic theory, a theory of signs which evinces the generation of novel meaning in the unconscious; it can be said to be cybernetic in the way that it exists in a state of continual evolution, the output produced by the system engendering transformation in the system itself. Deleuze offers a framework for how the work of art or aesthetic phenomenon can be translated into new knowledge through the process of entrainment with signs.

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INTERPRETING JOHN IRELAND’S BALLADE

Author(s): Julian Hellaby / Language(s): English Issue: 1/2023

A handful of John Ireland’s works have become relatively popular and these have tended to attract the label “English pastoral”, a stereotype which does not reflect the range of genres, styles and emotions that can be found in the composer’s œuvre. The Ballade of 1929 is a case in point exploring, as it does, an array of moods, topics and emotions that are a long way from pastoralism, and it also features a structural economy and directional intensity which place the work in the tradition of 19th-century musical narration. It thus presents itself as a richly-endowed vehicle for both conventional and hermeneutic analysis, raising a number of research questions: how do structural and hermeneutic analyses interrelate? What role do topics and the composer’s biography play in the musical narrative? How do the foregoing questions relate to a performance of the work? Answers to these questions form the substance of the article which concludes by offering thoughts on how the various strands may be projected in performance. The article is illustrated with extracts from the author’s own video recording.

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EXPLORING THE CONCEPT OF FREEDOM IN A STRICTLY NOTATED SCORE THROUGH THE AUTOETHNOGRAPHIC RESEARCH METHOD: CASE STUDY – KARLHEINZ STOCKHAUSEN’S KLAVIERSTÜCK I

Author(s): Helga Karen / Language(s): English Issue: 1/2023

Autoethnography is a research method that focuses on the researcher’s personal experiences and, through the analysis of experiences, can contribute to a fuller understanding of a phenomenon on a wider cultural level. In music, personal experience, whilst unique, can be a relatable and reliable source for the community. I am researching the individual – myself – to show my perspectives and share my experiences with others. In this article, I aim to show how the autoethnographic research method, applied to the rather technical research question of how to understand and practice a strictly notated score, can lead to an attempt to understand the meaning of freedom in musical interpretation. The article presents my own research project, with the methodology and analytical process of the data, and describes one example of the practical work conducted in my research with the piano pieces of Karlheinz Stockhausen. I aim to examine the understanding of freedom in musical interpretation and discuss why precise notation that at first might not give an impression of free interpretation possibilities can in fact be an interesting way of finding oneself and one’s personal approach.

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SYMBOLIC MUSICAL RESYNTHESIS AS AN EKPHRASTIC COMPOSITIONAL PRACTICE USING COMPUTATIONAL METHODS

Author(s): Juan Vassallo / Language(s): English Issue: 1/2023

In my artistic work, I explore the affordances of computational methods from the discipline of artificial intelligence for music composition. Grounded in philosophical perspectives that revolve around the notions of trans- and post-humanism and cybernetics, I understand the mediating role of computers in music composition as having the potential to expand a composer’s creative process by providing him with novel ways of exploring relationships between musical material and structure. Under this premise, music composition becomes a process that occurs through the assemblage between human actors and technological artifacts, and this association should result in new, interesting, and valuable artistic works. In this text, I will discuss a personal compositional practice that I understand as ekphrastic, based on the notion of symbolic resynthesis of musical symbolic information employing computational methods, as means for composing an original piece in response to the madrigal “Io Mi Son Giovinetta” by Claudio Monteverdi.

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RESEARCHERS, CURATORS AND DESIGNERS: THE EXHIBITIONS AS THE SPACE FOR COLLABORATIONS

Author(s): Anda Boluža / Language(s): English Issue: 1/2023

The article looks at thematic exhibitions that explore certain cultural and historical processes and examines the specifics of the exhibition as a collaborative process between three actors: academic researchers, curators and designers. Such exhibitions, grounded in cultural aspects and built on academic research outcomes, differ from classic art displays in the sense that they lack artworks that “speak for themselves”. Moreover, the research often is based on the written word and original documents or artefacts that are visually uninteresting/non-appealing or monotonous. On this account, the exhibition’s story and visual form is put in the hands of the curator and designer. Does this vital role give designers and curators the authority to rework the research that underlies the narrative? Is the design applied as the exhibit itself ? To answer these questions and to explore artistic research in the context of exhibitions, this article discusses the exhibitions carried out at the National Library of Latvia. The article looks behind the exhibition production process to examine the collaboration methods employed by the creative teams consisting of researchers, curators and designers.

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Психологическата връзка художник-творба. Влиянието на родовото начало в творчеството на проф. Ружко Челебиев

Author(s): Elpida Lailakidou / Language(s): English,Bulgarian Issue: 1/2024

The relationship between the artist and the work is of essential psychological importance in the field of fine arts. It includes multiple aspects related to processes where the artist creates, clarifies, and interacts with his/her works, and through them with the viewer. It is a complex and multi-layered process that shapes not only the creative act, but also the perception and meaning of art as a phenomenon. The relationship between the work and its creator is one of the most essential and complex phenomena in the field of fine arts. This process represents the relationship between the creator and his/her work, and it is considered in a psychological, emotional, and technological context.

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Биеналето в Сао Пауло през 1969 година – участие/ присъствие на художници от България

Author(s): Irina Genova / Language(s): English,Bulgarian Issue: 1/2024

The attempt of Brazilian, French and other artists to boycott the São Paulo Biennale in 1969, triggered by the dictatorship regime, did not get any response in the artistic and critical circles in Bulgaria, which participated in the Biennale with nine artists and 31 graphic prints that year. The focus of the Bulgarian collection displayed was on the reference to national traditions from the premodern period. Yet, the moment of intense interest in the pre-academic art forms (woodcarving, embroidery, coins, etc.), both in Bulgaria and elsewhere in the world, was already gone in 1969. The formula of the “national presentations” in the São Paulo Biennale, just as in the Paris Biennaleof Young Artists, was exhausted. The aggravation of thecircumstances after 1968 was neither mentioned nor discussed in the Bulgarian press. The Paris Biennale changed its regulations and Bulgaria terminated the participation of its artists. The participation in São Paulo continued under the strict control of the communist government.

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Situations/Simulacra: Artur Barrio’s Challenges to the Brazilian Art System in the Late 1960s and Early 1970s

Author(s): Radu Lilea / Language(s): English Issue: 1/2024

Artur Barrio’s installations/“situations” from the late 1960s and early 1970s embody one of the most vigorous endeavours to expose the political repression and the crimes committed by the Brazilian military dictatorship. Barrio’s artistic practice of that period also contributed to a reconfiguration of the Brazilian visual language, propounding a radical aesthetic that dismissed the established forms of expression to empower a stronger connection between art and this country’s reality (whether social, political, or economic). This article briefly reviews Barrio’s politically charged artistic projects from his early period, proposing the concept of 𝑎𝑟𝑡𝑖𝑠𝑡𝑖𝑐 𝑠𝑖𝑚𝑢𝑙𝑎𝑐𝑟𝑎 for a more precise definition of their relation with the oppressive political reality, on the one hand, and with the spectator, on the other hand.

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Filosofiniai architektūros kontekstai

Author(s): Tomas Kačerauskas / Language(s): Lithuanian Issue: 117/2023

The article examines architectural paradigms from a philosophical point of view: the classicism of Greek temples, the idea of the panopticon in architecture, modernist attitudes, the relationship between privacy and publicity, and echoes of phenomenology and Zen Buddhist ideas in architecture. A 'cross-examination' method is used, drawing on both architecture and philosophy. The philosophical approach here means examining the origins of ideas and raising broader - ethical and ontological - questions. On the other hand, architecture and especially urban design express holistic (philosophical) attitudes that are applied in the implementation of aesthetic ideas and the realisation of functional purposes. In doing so, they reflect the way of life in the surrounding environment (both natural and historical).

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Antropoceninis peizažas šiuolaikiniame kinų mene

Author(s): Loreta Poškaitė / Language(s): Lithuanian Issue: 118/2024

The condition of the Anthropocene and its aesthetics has become one of the most important issues in global and Chinese art of the 21st century. It has allowed the rediscovery of landscape art as its preferred means of expression and medium to reveal the relationship between man and nature in the past, present and future. Landscape art, or more specifically the genre of landscape painting (shanshuihua), is one of the oldest traditions and it has had a special significance in Chinese culture. Its relevance in Chinese contemporary art is far greater and has more implications. The paper aims to explore the main genres of anthropocenic landscape in contemporary Chinese art and it looks into their relationship with traditional shanshuihua. The paper considers their similarities and differences, and reflects the global transformation of the concept of landscape itself. The paper analyses famous anthropocene landscapes by contemporary Chinese artists (Zhao Liang, Yao Lu, Hong Lei, Yang Yongliang, Xu Bing) that have been inspired by and 'flirt' with traditional shanshuihua (or imitate and re-conceptualise it).

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Music in Wartime: Value, Aesthetics or Therapy?

Author(s): Chen Liang / Language(s): English Issue: 118/2024

The article examines the mass musical product created after February 24, 2022 in Ukraine, and also focuses on Ukrainian music, which is an identifier of Ukrainianness in the world. The phenomenon of "music of war" is studied in the context of the Russian-Ukrainian confrontation and the role of Ukrainians in the evolution of wartime musical culture is depicted. Attention is also drawn to the recent change in the musical tastes of Ukrainians, which is interpreted as cultural resistance and a way of struggle. Some Ukrainians call music "therapy during war", because it praises the moral and spiritual values of the Ukrainian people, and also forms aesthetic ideals in the axiological oppositions "peace / war", "good / evil", "own / foreign", etc. We screened the musical moods of Ukrainians during air raids (in shelters at the "Universytet" and "Teatralna" metro stations in the center of Kyiv) and formed an outside opinion about these moods from the perspective of a foreigner (Chinese) who lived in Kyiv throughout this difficult period . The research partially answers the question: does there exist aesthetics in the music of war and does music "heal" during war.

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Educational Strategies for Unveiling the Symbolic Language of Art: Incorporating Mythology in Curriculum

Author(s): Karim Baigutov / Language(s): English Issue: 118/2024

Mythology has an important place in arts education, offering a rich tapestry of stories that inspire creativity, critical thinking, and cultural understanding. The article examines the multifaceted role of mythology in art education, emphasizing its relevance across various disciplines such as history, literature, religion, science, philosophy, art, politics, culture, and psychology. Through the study of mythology, students gain insight into the universal themes, archetypal characters and symbolic images that have influenced artistic expression throughout history. In addition, mythology provides a fertile ground for artistic exploration and interpretation, encouraging students to reimagine and reinterpret classic tales through a variety of visual media. The study of mythology in art education facilitates an understanding of the interplay between mythological narratives and broader cultural contexts, deepening students' appreciation for cultural diversity and historical context. Mythology also serves as a source of inspiration and reference for artists in a wide range of artistic disciplines. It provides valuable insights into human nature and the human experience. By understanding mythology as symbolic narratives rather than literal truths, students can appreciate its enduring relevance and enrich their understanding of themselves and the world around them. Overall, this paper highlights the importance of incorporating mythology into art education to develop creativity, critical thinking, and cultural awareness in students.

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Mythological Motifs in the Heroic Epic: Analysis of the Artistic Function and Influence on the Formation of the Hero's Image

Author(s): Vesel Islami / Language(s): English Issue: 118/2024

In the context of modern literary criticism and cultural studies, it is particularly important to re-establish the link between mythology and literary tradition, to reveal new aspects of interpretation and to promote a deeper understanding of the heroic epic. The analysis of the artistic function of mythological motifs and their influence on the formation of the hero's image provides a deeper understanding of the evolution of literary works, as well as an important contribution to the disclosure of the universal principles of the heroic epic. The study aims to reveal the internal mechanisms of interaction between mythological elements and the storyline and to identify their contribution to the revelation of psychological aspects of the characters in the heroic epic. To achieve this goal, a few methods were used, including semiotic and psychoanalytic analysis, as well as historical, cultural and hermeneutic methods. The main results of the study point to the significant influence of mythological motifs on the heroic epic, which is manifested in the formation of character images and the development of the plot. The analysis has shown that mythological elements not only play a decorative role in the text, but also contribute to the structural depth of the epic, giving it an additional layer of meaning and symbolism. It has been found that mythological motifs help to intensify conflicts, convey ethical paradoxes, and create a unique emotional connection with the reader or viewer. It was also found that mythological motifs influence the formation of characters' psychology, revealing their internal conflicts, motivations, and character development. In addition, the results suggest that mythological motifs are an important element in understanding the cultural and historical contexts intertwined with the heroic epic. Their contribution to the creative process is manifested in their ability to reproduce collective images and values that define the identity of society. Thus, mythological motifs not only enrich the aesthetic aspect of the epic, but also penetrate deeper into the essence and meaning of the heroic narrative. The practical significance of this study lies in the fact that it provides a scholarly basis for understanding and applying mythological elements in the modern literary and cultural context, thus contributing to the development of a scholarly approach to the heroic epic.

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Architectural Criticism in the Soviet Lithuania 1958-1988: Vision of the New Architecture in the Specialized Periodicals

Author(s): Algimantas Grigas / Language(s): English Issue: 2/2023

Architecture criticism of Soviet Lithuania has not been properly addressed in scientific research. The novelty of the work relates to the branch of architecture criticism as part of the history of arts, particularly in the context of the historiography of 20th- century modern architecture. This paper is to uncover the various forms of architectural criticism and its agents among the vocational and scientific publications aimed at other architects of the Lithuanian SSR. Using a systematic approach and qualitative research methods, a database of 100 critical articles is constructed. The phenomena of architecture criticism are explored using the theoretical framework of W. Attoe from his book “Architecture and Critical Imagination” (1978). The results of the research brought several understandings. Despite the common belief among professionals that architects should be predominantly the creators of architecture criticism, architects by profession make up only half or less of the total number of texts in the specialized press. The dominating types of architectural criticism are normative and descriptive (excluding the texts that would describe the context of an architectural idea or particular building). There are very few examples of interpretative criticism encountered (except in the thematic group of criticism around interior design). Further discussion of prevalent thematic groups led to the conclusion that architectural criticism in Soviet Lithuania alongside the official “politically allowed criticism” has been using disguised forms of texts. There has been an underlying narrative to promote modernist or simply, new architecture principles using photography with little to no text, indirect speech, and other forms of non-explicit communication. One of the wider goals of this paper is to initiate wider research into the subject of architectural criticism of Soviet Lithuania and also validate the existence of the neglected phenomena using the specific material of professional and academic architectural publications.

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Ancient horror story about a werewolf in Petronius’ novel “Satyricon” and Federico Fellini’s film “A Marriage Agency”

Author(s): Alexander A. Sinitsyn / Language(s): English Issue: 1/2024

The article makes an assumption about a probable reference to Petronius’ Satyricon, occurring in Federico Fellini’s novel A Marriage Agency (Un’agenzia matrimoniale), which is part of the anthology film Love in the City (L’amore in città, 1953) made by a group of Italian film directors. Many a time did the Italian film maker admit that he had discovered Petronius as early as his years at the lyceum in Rimini. The author of the article adduces arguments testifying to a possible influence Petronius may have had on Fellini; he draws parallels between the ancient horror-story told by a freedman, Niceros, at the feast held by Trimalchio (Sat. 61–62) and the modern story created by Federico Fellini. These parallels in the stories about werewolves (versipellis), found in Petronius’ Satyricon and in Fellini’s A Marriage Agency, are credible coincidences. Fellini chose the tale about a werewolf, which may have been inspired by Petronius’ novel that had had a great influence on him in his green years. And the horror-story about a lycanthrope told by Niceros is undoubtedly one of the most memorable ones at the cena Trimalchionis. If the assumption in the article is true, then the story A Marriage Agency is Fellini’s yet another film that, along with Satyricon, features the Petronius subject, and, what is most important, this happened half a decade before his ‘historiographic’ masterpiece.

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Urban Street Architecture, the K67 KIOSK: a Single Solution for All Problems

Author(s): Marta Rendla / Language(s): English Issue: 1/2023

In the following contribution, the author presents the complex development and evolution of the universally and modularly designed K67 Kiosk – the famous red booth by the Slovenian architect and industrial designer Saša Janez Mächtig – from its conception in the second half of the 1960s through its upgrades and specialisation in the 1970s to today’s modernisation as an interactive self-service multipurpose kiosk for the twenty-first century, the K21. The K67 Kiosk – a product of urban street industrial design architecture – was created under the influence of the architectural trends at the time and due to the growing needs of the city and the development of urban service activities. The miniature street architecture, which used to house newspaper, tobacco, and food shops, small workshops, flower shops, parking and ticket booths, information and tourist offices, gatehouses, etc., became a part of the general urban culture of the former Yugoslav territory, the urban space of former Eastern European socialist countries, the collective consciousness and memory, as well as a cult product.

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Стихотворение М. Ю. Лермонтова «К портрету» (1840): поэтика текста и образа

Author(s): Irina V. Kiseleva,Ksenia A. Potashova / Language(s): Russian Issue: 2/2024

The article examines the history and poetics of Mikhail Lermontov’s poem “To the Portrait” (1840). The research material comprised three manu- scripts of the poem: a draft manuscript from the collection of S. A. Rachinsky containing numerous edits, a finalized manuscript with notes by V. F. Odoevsky and P. A. Vyazemsky, as well as another final draft of the poem, which was added to the collection of Karl August Farnhagen von Enze in 1844. The re- construction of textual history allows to trace, the features of Lermontov’s poetics. While working on the poem, the author consistently rejected the ek- phrastic nature of the image created by the reference to a specific artifact — an engraving by Pierre Louis Henri Grevedon “Full-Length Portrait of a Sitting Woman in an Open Dress” (1840). Using a series of associations, comparisons, and oppositions, the poet creates an image of a young woman. Attention to the dynamic poetics of the verbal portrait of Countess A. K. Vorontsova-Dashko- va allowed us to show how Lermontov complicated her image. The analysis of the draft versions of numerous antinomies, name change in the final draft allowed to overcome the clichés of perception of the poem and interpret it in the context of the Russian cultural tradition.

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Утраченная пьеса Достоевского «Борис Годунов» (источники, концепция)

Author(s): Vladimir Aleksandrovich Viktorovich / Language(s): Russian Issue: 1/2024

According to contemporaries, the play “Boris Godunov” was written by Dostoevsky before he began work on the novel “Poor People.” The manuscript of the play is lost. Some assumptions about its composition have been made in the scientific literature, but this article for the first time undertakes a systematic analysis, if possible, of all the alleged sources of the idea, as well as some of its reflections in the writer’s later works. The article examines the situation in Russian historiography and fiction related the coverage of the reign of Boris Godunov and the personality of the tsar himself prior to Dostoevsky’s undertaking of this topic. The key sources for him were the 9 volumes of Karamzin’s “History of the Russian State” and Pushkin’s “Boris Godunov,” which formed the consciousness of the future writer since the times of family readings in his parents’ house. Subsequently, Dostoevsky faced an acute dispute in literature around Karamzin and Pushkin, who declared Godunov guilty of the murder of Tsarevich Dmitry. Their position was supported in the 1830s by the authors of historical dramas V. T. Narezhny, A. S. Khomyakov, and M. E. Lobanov. The historians M. P. Pogodin, N. S. Artsybashev, and A. A. Kraevsky defended Godunov; their point of view was reflected in the dramas of the same Pogodin and G. F. Rosen. F. V. Bulgarin took an ambivalent position in both journalism and prose. Dostoevsky was undoubtedly familiar with Schiller’s printed sketches for the tragedy “Demetrius,” where the figure of Boris Godunov as psychologically complex and ambiguous. The critics of Pushkin’s Boris Godunov N. I. Nadezhdin, N. A. Polevoy, and V. G. Belinsky played a certain role in shaping Dostoevsky’s idea. In “interacting” with them, Dostoevsky obviously developed a new twist in the dramatic plot, which resolved the historians’ dead-end disputes. In his play, which absorbed the dramatic experience of Shakespeare, Racine, Schiller, as well as the historical legends around Alexander I and Napoleon, a version was proposed about Godunov’s indirect guilt in Dmitry’s death and about the hero’s unwavering moral responsibility even for indirect complicity in a crime. This motif was developed in Dostoevsky’s subsequent works, such as “Netochka Nezvanova” (Efimov), “Demons” (Stavrogin), “Brothers Karamazov” (Ivan). It can be stated with a high degree of confidence that the origin of the concept of expanding guilt and responsibility for it occurred in the very first works of the writer — the tragedies “Mary Stuart” and “Boris Godunov.” The author of the article suggests the formation of Dostoevsky’s aesthetics in the context of the development of Russian historical drama.

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KARAMAN’DA GELENEKSEL KINA ÖNLÜĞÜ

Author(s): Mustafa Konuk / Language(s): Turkish Issue: 23/2023

From past to present, women have made it their pleasure to prepare dowry for their daughters by spinning the yarn and coloring it with their own means. These knitted aprons, which are eye-catching and handcrafted in every way, are the best examples of Turkish handicrafts. The subject of this study is to introduce the crocheted knitted henna aprons, which have a traditional identity in the center of Karaman, especially for the dowry of young girls and which are carefully prepared so that the bride's clothes are not contaminated and the burnt henna stains are not on her clothes, to introduce the crocheted henna aprons that are kept in their dowry, to reveal their ornamental features and to determine the design elements. In this context, crocheted henna aprons were examined in terms of design, information was obtained about the motifs, techniques, colors and materials used by interviewing people living in the region, and the local names that people gave to these aprons were researched. The local style was used in the motif naming of the crocheted apron samples examined. The people living in the Karaman region are the people who live very closely to each other and at the same time are closely connected to their customs and traditions. In the past, the aprons that were knitted to prevent the new bride's clothes from getting dirty at the henna night and kept in her chest after using it that night and tied in front of special guests when they would arrive, are unfortunately no longer knitted either because there are chest stains on the chests or because they are refused to be used by young girls. As a result, it shows how important it is to determine the traditional henna aprons left in a few households in the Karaman region before they disappear completely, to bring them into the literature and to contribute to today's designs.

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DİYARBAKIR ARKEOLOJİ MÜZESİ’NDE YER ALAN HALI, KİLİM VE KUMAŞ ÖNEKLERİ’ NİN SEMBOLİK ANLAMLARININ İNCELENMESİ

Author(s): Gizem Gem,Kafiye Özlem / Language(s): Turkish Issue: 23/2023

The aim of this study is to examine the symbolic meanings of carpets, rugs and fabric samples in Diyarbakır Archaeology Museum. The population of this study consists of 300 carpet, rug and fabric samples in Diyarbakır Archaeology Museum. The sample; 5 carpets, 5 rugs and 5 fabrics with symbolic meanings among 300 pieces were determined by purposeful sampling method. It was determined that wool yarn was used in the examined carpet and rug samples and dark colors were generally preferred. Motifs such as ram's horn, scorpion, hook, eye, earring, comb/finger hand, waterway, mihrab, hexagon and rhombus are generally used in carpet and rug examples. When the fabric samples were analyzed, it was determined that velvet fabric was mostly used and embroidered with silvery thread using Maraş work (dival embroidery) technique. Among the floral motifs, leaf, flower and curved branch motifs are frequently used.

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