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Pierre Bourdieu „Manet. Une révolution symbolique. Cours au collège de france (1998-2000) suivis d’un manuscrit inachavé de Pierre et Marie-Claire Bourdieu”
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Pierre Bourdieu „Manet. Une révolution symbolique. Cours au collège de france (1998-2000) suivis d’un manuscrit inachavé de Pierre et Marie-Claire Bourdieu”
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Two different approaches towards Francis Bacon’s painting are analysed in the article: postmodern and phenomenological. The problematic and multiple status of such concepts as sensitive body, intensive sensation and the affect common for both Gilles Deleuze’s and Alphonso Lingis’ philosophy become most visible in regard to Bacon’s painting that displays the reality of the vulnerable and intensely affected body as his main subject. The article follows the main intrigue which inspires their studies, i.e. the article aims to explain what determines the suggestibility of Bacon’s canvas: is there the violence of line and colour, which negates the role of figuration (Deleuze) or the violence of life, that on the contrary, affirms representation (Lingis)? The author maintains that such different interpretations are determined by different notions of experience. Lingis emphasizes actual experience which allows to find the link between creation, lived body and life world, while Deleuze stresses virtual experience, impersonal life, body without organs and creation of new perspectives.
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In traditional cultures, dreams and visions are often considered as prophecies. From the position of psychoanalysis such a view, can even be defended, as dreams and visions present wishes that demand realization and can influence the future. Today’s communication is largely based on a visual message. This state is described by postmodern concept of culture, according to which the image replaced reality – the “map” becomes the “territory”. For this reason, the study of visual culture can be practiced as an analysis of the collective visions, looking for manifestations of unconscious wishes and the first signs of emerging cultural processes. Fashion, design and architecture shape the picture of everyday life – they define the new and desirable images and views, providing rich material for such analysis. In times of political utopia deficits, aesthetic utopias can shape the collective identities and aspirations.
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The development of technology has significant implications for human creativity. The nature of creative processes is being redefined, and technology is playing an increasingly important role in creative activities,becoming a tool or an extension of the creator's hand helping to integrate anew idea. Implications are also evident in the teaching of fine arts, enhancing the possibilities of stimulating students' creativity using computer software. This assisted creation system is empowering for the student, as it enables him/ her to acquire new abilities and a wide range of creative skills, as well as facilitating the formation of personal semantics. In order to determine the possibility of using computer software in the teaching of fine arts, research has been conducted among subject teachers. The aim is to determine the extent to which teachers of fine arts are familiar with software suitable for visual design, to establish whether they use it in their educational work, and to examine the methodical specifics of the realization such teaching.The results of the research are significant for the processes of designing initial university education programs, as well as in programs for lifelong professional teacher training, both for the purpose of educating teachers about the possibilities of using computer software and their impact on enhancing students' creativity. The results can be a real boost for teachers who want to complement and strengthen their educational practice.
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The digital revolution and technology has led us towards a more intimate understanding of the acoustic instrument and its sound. What was the modern piano for Chopin was a tape recorder for Schaeffer. Today, there is little distinction between the sounds of acoustic, natural or electronic. In this paper I describe the shift of musical perception throughout recent technological developments. My starting point of exploration is the spectral attitude of1979, which inspired further sonic evolution and changed our perception of the sound, performance and instrumental body of instruments, as well as introducing the computer as an essential instrument for composing. Further, I highlight the importance of software and discuss the ways in which softwaregeneratedmusical ideas can incite human creativity and influence a post-digitalvision of gesamtkunstwerk. The evolution of hybrid instruments and real-time audio-visual interactive software has led to changes in temporal freedom and created a multisensory experience. I explore how this transmission breaks down the barriers and limitations of the human creative mind and discusses how this can potentially lead to the new musical era. Finally, I reveal some art experiments within the concept of transmedial composition in recent times.
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This paper presents how the PerFECt Framework for establishing and sustaining learning communities can be combined with innovative approaches of teaching mathematics using drama, to develop unplugged activities to introduce the binary system in primary and secondary school students. The resulting Human Calculator theatrical game enables students, using their bodies, to learn the binary representation of numbers and discover the algorithms of addition, subtraction, multiplication and division.
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The famous palladium of Venice, the Nicopeia icon kept in the basilica of San Marco, 1968 underwent spectral and micro chemical investigations. Their largely overlooked to the moment findings proved the existence of more superimposed images of Our Lady, not identical with the one visible today. The present paper analyzes the issues of these laboratory ex-aminations from technical-technological point of view to the end to gain as many as possible insights into the composition, sequence and plastic construction of the original painting and its successive transformations. The visualization of the outcomes and the evaluation of the various work hypotheses are supported by imaging and post processing techniques ranging from digitization and optimization of old analogue photos to image manipulation methods. The results allow to draw conclusions not only about the appearance of the hidden Mother of God and about its original significance, but al-so to address for first time with scientific criteria the question of the icon’s date and provenance.
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The purpose of the article is to highlight the essence of the current process of certification in independent Ukraine and the assignment of qualification categories to artists-restorers. Methodology. The choice of research strategies in revealing the purpose of the study determined the application of systematic and integrated approaches, as well as historical-chronological and comparative methods. The use of these research methods contributed to obtaining their own results. The scientific novelty of the obtained results lies in the formulation and development of a topical topic, which in the scientific dimension has not received comprehensive and objective coverage and is being studied for the first time. The results of understanding the essence of the certification process and assigning qualification categories to artists-restorers can serve as an important component in the study of modern problems of art education and strategy of the policy of preservation and development of cultural heritage. Conclusions. In Ukraine, there are some elements of training and certification of artists-restorers, which are not combined with common approaches and principles. Training of specialists in the restoration of cultural values in higher education institutions is not accompanied by continued training during the practical activities of the restorer. The activities of the Commission for Certification of Artists-Restorers are not based on the achievements in this field in education, science, and technology. The legal basis of the commission's activity is outdated, contradicts the regulations of the central government in the field of culture, does not take into account international experience and needs a radical revision based on the latest approaches, which include practical and educational components of the unified system.
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The purpose of the article is to interpret the meaning and symbolism of the Virgin Eleusa with the Tree of Jesse icon of the late 17th century from the Voinyliv church in the Ivano-Frankivsk region. The methodology of iconography and iconology, formal analysis, semiotics, and reconstruction were used to achieve this goal. The scientific novelty of the article is that the symbolism of the Virgin Eleusa with the Tree of Jesse icon of the end of the 17th century from Voinyliv was comprehensively interpreted for the first time, the idea of the connection of the old and new testaments was emphasized, the composition of the icon wasreconstructed, and most persons were identified. Conclusions. The 17th century Virgin Eleusa with the Tree of Jesse icon from the Voinyliv church presents a symbolic composition with a complex theological program. In the Ukrainian art of that and later times, there are several other examples of the Theotokos icons of complex iconography, but with other content and composition. The iconography of the Voinyliv icon reveals a connection with the praise of Our Lady, with the genealogy of Christ, with the continuity of the New Testament Church of Christ, and with the Synaxis of the Theotokos. The image of the Virgin Mary with the Jesus Child reproduces a variant of the miraculous Lidda-Rome icon, widespread in the Western Ukrainian art of the Peremyshl and Lviv dioceses of the second half of the 17th and early 18th centuries.
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The purpose of the article is to define the conception of perception of poetic texts and illustrations by generalizing these forms of arts. The methodology is based on the functional approach to verbal and non-verbal text comprehension. The scientific novelty of the work lies in understanding the process of generalization of two forms of arts, such as poetry and illustration that proves the idea of their twofold nature. The developed typology of poetic texts with a basic parameter ―antithesis‖ and classification of the forms of illustrations are founded on the correlation of projecting and conceptual principles of reality reflection in verbal and non-verbal texts, and on the explicitness degree of evaluative characteristics. Conclusion. The generalization of two forms of arts contributes to developing a course of action for an artist-illustrator. The significance of the scientific research results can clarify the elements of ambiguity, uncertainty, obscurity in the process of perception of any work of arts.
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The purpose of the article is to define the term "patina" in its material and immaterial dimensions, as well as to study the genesis of this concept in a wide range of its interpretations in the context of the values of authenticity and value of works of art. Methodology. The study includes general scientific methods of analysis, comparison, and explanation. The method of discourse analysis contributed to the understanding of the meaning of the term "patina" in different periods of formation of the restoration theory. The method of comparative analysis was used to compare different interpretations of the concept by researchers of one chronological period. The use of context analysis is due to the function of intertemporal communication of works of art and their social dependence. System method - to identify the general principles of building a structure, the natural relationships between its various criteria. Scientific novelty. The scientific novelty of the work lies in the study of contradictions in the interpretations of the meaning of patina and in the combination of theoretical developments of scientists of the post-Soviet space with modern world restoration science. Conclusions. The study of various models of relationships between the initial state of the work and its temporal changes, analysis of a wide range of patina values, consideration of the restoration interpretation of an art object allow us to recognize patina as one of the criteria of the authenticity of a work of art. Scientific research and study of the concept of "patina" are of great importance for practical restoration, as they form the basis of specific restoration projects, methods, and recommendations.
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The purpose of the article is to reveal the art-stylistic features of the Poster, depending on culture-historical, political, and economic events. This study contributes to the history of the poster, considering it as an object of Graphic Design in the context of cross-cultural interaction, cultural integration, and national identification. Methodology. The socio-cultural, system-structural, comparative methods and the method of stylistic analysis were chosen for the stated topic. The scientific novelty is to substantiate the relationship between the functionality, content, and style of the Рoster. Communicative and aesthetic aspects of pictorial are presented in the socio-cultural dynamics in accordance with certain stages of social development. The Poster actively forms the mass consciousness, is included in the social sign system, has a powerful influence on public opinion, represents past and present creative experience. It is proved that the semantic space of the Poster is a visualization of a significant idea, a generalized reproduction of object or phenomenon in form and color. Conclusions. Contemporary poster as a product of Culture must have emphasized aesthetics, non-standard, graphic variability, retain symbolic meanings, and be interesting to the target audience.
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The purpose of the article is to perform an art history analysis of some graphic techniques and their influence on the development of fine art and design in Ukraine in the twentieth century from the position of representation and popularization of Ukrainian culture, which will allow showing the prospects of graphic techniques in art. The methodology of the research is to use a concrete historical method to analyze the influence of graphic techniques and achievements in popularizing Ukrainian art, as well as using the method of comparative analysis and historical-cultural approach, which will help identify the main trends in the development of graphic techniques in the work of Ukrainian artists in the global context. The scientific novelty consists in an attempt to identify the main trends in the development of graphic techniques in the representation of Ukrainian culture and the work of Ukrainian artists in the 20th century, which is due to historical, social, and cultural processes. Conclusions. The development of graphic techniques is a significant contribution to the national fine arts and design, to the culture of Ukraine. It can be argued that graphic techniques have undergone significant changes since their inception. At the beginning of the XXI century, their technology becomes more complex and the texture of the print and the color solution becomes more complicated. Today, abstract, futuristic forms that are most characteristic of improvisational art are used, and contemporary artists continue to search for new tools and techniques for enriching graphic techniques. An analysis of the essence and representation of graphic techniques in the works of Ukrainian artists points to the interdependence of the long-standing cultural heritage and achievements of the early twentieth century, which helps the development of graphic techniques and should influence the visual arts and design in Ukraine.
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The purpose of the article. The goal is to outline the main creative achievements of the Patsykyvska faience factory. The methodology consists of the totality of the application of the historical-chronological approach, historical-cultural, axiological and art history methods, which allow you to review previously known information regarding the mentioned production. The scientific novelty consists in the addition and refinement of information regarding the activities of the outlined enterprise and the addition of newly revealed data regarding the owners of the Patsykyvska faience factory. Conclusions. Based on the latest information regarding the formation, development, and activities of the Patsykyvska faience factory, it was possible to verify previously known information on the start of production, which, judging by archival sources, has been operating since 1912. Local history studies of the village of Pidlissya, which, according to the new administrative-territorial division, covers Patsykyv’s former territories in the vast modern Ivano-Frankivsk region made it possible to supplement the information on the stages of reconstruction and modernization of the enterprise, previously unknown to the general public related to the wartime of 1914–1918. The identification of the latest archival data, photographs, and sights from various state and private collections of Ukraine and Poland over the past years made it possible to clarify the names of the production of different periods, which was originally called the Erst Galician Factory of Faience and Terracotta in Patsykyv near Stanislavov, and in the interwar period – Polish factory of faience «Patsykyv» near Stanislavіv.
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Purpose of Article. The research is related to the study of the main components of the exhibition design and innovative technologies that are used in the organization of exhibition spaces. The purpose of this work is to determine the role of the design of exhibits in modern design and artistic activities. Methodology. Common scientific methods, namely analysis, and synthesis, induction and deduction, description, are used to study the exhibition design. The method of system-functional analysis helped to investigate this phenomenon in interconnection with other areas of design: architecture, interior design, graphic design, and environmental design. Interdisciplinary and comparative approaches have led to the unification of various concepts to identify the role of exhibition design in modern information and communicative space, namely art studies and aesthetics, social philosophy, and semiotics. Hermeneutical and phenomenological methods are basic for the research of exhibition design. Interdisciplinary and comparative approaches have led to the integration of different concepts to determine the place of exhibition design in the informational and communicative space of modern society. Hermeneutical and phenomenological methods became the leading examples of the exhibition design. The scientific novelty of the work consists of thorough research of the concept of “exhibition design" and clarification of its role and functions in modern society. The examples presented show that the exhibition exposition visualizes and demonstrates the economic and cultural achievements of one or more countries. Conclusions. The implementation of the interdisciplinary approach to the design of the exhibition gives the opportunity to transmit information at several levels. Exhibition design is a synthesis of all kinds of design - architectural, environmental, industrial, landscape, graphic. Thanks to the design, the exhibition integrates into the design of interiors and the architecture of the environment, and it becomes a way of promoting consumer goods and artistic works.
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The purpose of the article is to determine the synthetic dimensions of modern culture as a particular communicative space. The methodology of the research is based on the application of methods of analysis of scientific literature, art-style analysis of works of fine arts to identify their subject-shaped series, and principles of form formation in the context of artistic communications. The scientific novelty is to find out the structure of synthetic trends of Art Nouveau style in its stage space. Conclusions. Art Nouveau style presents the subtle principles of stylism, which combined organism, ornamentalism. The harmony of style was more hypothetical than existing. In each work, one can see how harmoniously, disharmonious, and polyphonically the realities of the world of architecture, synthesis of arts, stage synthesis are combined. Thus, the modernist I. Stravinsky, O. Benoit, M. Vrubel, M. Roerich are not remakes that are mystified and transformed into a specific heroic epic. It is an authentic outburst of the spirit of breaking the classical culture. Art Nouveau is now emerging as a modeling system that actualizes the nostalgic scene. A. Tarkovsky, at one time, was very close to modern installations of culture (eternal juvenility and absolute spirituality), which is especially noticeable in his cinematic interpretation of S. Lem's Solaris. The director dreamed of some mystical power that exists outside of practice, outside the world, beyond individual choice, beyond the courage to be. The Art Nouveau style has a vast scene of world culture, in which its unique synthesis of the arts has formed. Theatricality is present in architecture, interior decoration, painting, graphics. Based on style invariance, all kinds of arts interacted in a shared communicative space and in separate stage ensembles, in particular opera, ballet art, etc.
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Newton, opisujući duboko proživljeni doživljaj istraživanja u fizici, opisuje, vjerujem, i doživljaj koji dijeli i sa svakim pravim umjetnikom. Goethe odabire za naslov svoje autobiografije Dichtung und Wahrheit, dakle Poezija i istina, što i nije bez razloga u nas prevedeno kao Poezija i zbilja. Valja, naime, pjesniku - ako hoće pisati za milijune (kako je to zahtijevao Goethe) - dobro i duboko i proživjeti i promisliti svekoliku zbilju, sve raznolike (a počesto i kontradiktorne) aspekte realnog: dobro promisliti i svakodnevno i sublimno, obično i čudnovato, duhovno i materijalno, egzaktni opis zbiljskog kako ga nameće znanost kao i aluzije umjetničkog dojma; i valja mu sve proživljavati, pjesniku valja njegovu poeziju svakodnevno živjeti.
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The aim of this paper is to analyse 12 political cartoons published by Steve Bell in the left-wing oriented newspaper The Guardian to show how visual metaphors and metonymies and intertextual references are powerful strategies to present potent rhetorical depictions of political candidates and political issues. These devices are used to establish intertextual links across political cartoons and historical events, contemporary culture, paintings, literary works and illustrations. The themes that appear regularly in political cartoons have been identified, as well as a number of categories of source domains in visual metaphors. The analysis of the cartoons reveals that the interpretation of the cartoon and the appreciation of humour depend on the audience’s access to background knowledge, both of the political situation described in the cartoon and the intertextual references presented, on the audience’s ideology and on the decoding of the characteristics mapped onto the target of the metaphor.
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Impressive cinema palaces with exterior facades illuminated appealingly at night were significant for the big city life of the roaring twenties. The film screenings in the prestigious buildings were framed by a diverse supporting programme. Siegfried Kracauer dealt critically with the formative tendency towards theatricality in the new large cinema buildings such as the Gloria-Palast in Berlin in 1926. He also discussed the supporting programme and the aspect of distraction in the context of modern mass and leisure culture in a progressive and extraordinary way. Over the past decade, luxury cinemas have been enjoying a revival. In order to examine today’s high-end boutique movie theatres, Siegfried Kracauerʼs thoughts on large cinemas in the “roaring twenties” in Berlin provide critical impulses. In the first part of my paper, two important texts by Kracauer are analysed. In contrast to previous research, Kracauer’s arguments are also compared in greater detail with those by contemporary progressive critics not only in Germany but also in other countries, such as Joseph Roth, Kurt Pinthus, Fritz Olimsky, Kenneth Macpherson, Harry Alan Potamkin and Philip Morton Shand, among others. This also reveals the special nature, quality, and depth of Kracauer’s essays. An analysis of modern luxury movie theatres inspired by Kracauer’s train of thought follows in the second part of this paper.
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The history of the first Romanian school of ceramics, founded in Târgu Jiu, bears the signature of Iuliu Moisil (1859-1947), a Transylvanian academician, born in Năsăud in the family of the vicar Grigore Moisil. Iuliu Moisil, a prominent personality of the Romanian culture, belonged to a generation that turned its noble origins into a duty to serve everything that represented the history, education and culture of its people. After living for 8 years in Slatina, Iuliu Moisil arrived in Târgu Jiu in February 1894. He was first a teacher and then director of the "Tudor Vladimirescu” Gymnasium in Târgu Jiu. Together with a solid group of intellectuals, including engineer Aurel Diaconovici, artist Witold Rolla Piekarskhi, professor Alexandru Ștefulescu and others, Iuliu Moisil launched a wide cultural and economic movement whose echo far exceeded the borders of the region. This movement included the organization and opening of the first Romanian pottery school, a pioneering initiative of the engineer Diaconovici, with the support of the Minister of Public Instruction, Dr. C. I. Istrati. Organized in two elementary and artistic sections, the school was voluntarily coordinated by teachers from the Târgu Jiu Gymnasium, by the stained glass painter Iohan Wirnstl from Vienna and the sculptor Iohan Schmidt Faur from Zalim, two great artists who came to Jiu to teach specialized disciplines. Inaugurated on October 9, 1900, the Ceramics School from Târgu Jiu, whose purpose was to create and organize the ceramics industry in the country in a systematic and artistic way, “so that in the near future no foreign vessels will be imported from abroad..., faience and porcelain”, but also to provide new sources of income for peasants, exceeded all the expectations of its founders: the graduates of the first promotion would be involved in this field (at the Cotroceni faience factory, at the School of Decorative Arts and at the School of Visual Arts) and the school became autonomous. The participation in the national exhibitions in Bucharest and Sibiu from 1903-1906 brought gold medals to the school. The most important aspect was that Iuliu Moisil, through the School of Ceramic Art, supported the schooling of children from low-income families, children from Gorj, but also from other parts of Romania. He continued his support even after leaving Târgu Jiu in 1905. He offered them suggestions and advice, material support and scholarships to continue their training in Germany at the Sonnenberg School. On July 1, 1905, Iuliu Moisil handed over the management of the Ceramics School to the new director Andronescu and left for Bucharest. During the First World War, the Ceramics School in Târgu Jiu was evacuated, and the students were sent to hospitals as scouts. However, Moisil remained an enthusiast of pottery, publishing the work “Decorative Art in Romanian Ceramics” in 1931, which was praised by the historian Nicolae Iorga.
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