Laiko Patirtis Remigijaus Treigio Fotografijose
Time Perception in Remigijus Treigys’s Photography
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Time Perception in Remigijus Treigys’s Photography
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Photo artist Remigius Treigys was born 1961 in Kaunas. Nowadays he lives and works in Klaipeda. From 1982 to 1987 Treigys studied at the Lithuanian Art Institute (presently – Vilnius Art Academy). In 1988 the artist became a member of Lithuanian Photo Artists Association. In 1992 he received a scholarship for young artists provided by the Ministry of Culture of the Republic of Lithuania, in 2003–2004 – the State Scholarship from the Ministry of Culture of Lithuania. Thirty six personal exhibitions of this photographer were held in Lithuania and abroad: “Landscapes”, Fragments”, “Things”, “Things in Darkness”, “Remembering City. Vilnius”, “The Seventh Street”, “Last Day in Venice”,“21st day in Berlin “ and others. Treigys’s works are exhibited in Lithuanian Art Muesum, Lithuanian Art Photography Union Fund, Odense Photography Art Museum (Denmark), PROARTIBUS Center (Eken, Finland), EU Parlament in Brussels, Šiauliai Photography Museum (Lithuania).
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The author of the article discusses the concept of urban planning that was offered by Austrian architect Camillo Sitte at the turn of the last century. During this period and under the pressure of modernist imperatives, the leading urban panners were captured by urban megalomania and demonstrated an indifference to urban heritage and to the principles of aesthetics. The aesthetical dimension of Sitte’s thinking is scrutinized and his concept of urban planning is interpreted as strikingly up to date and modern. The author suggests that Sitte’s role in the history of urban planning still remains somewhat underrated because such influential authors as historian Carl E. Schorske or renowned architect Le Corbusier have drafted a one-sided and often unjust interpretation of Sitte’s theoretical assumptions. The author emphassizes the potential of Sitte’s approach. The author also mentions George R. Collins and Christiane Craseman Collins who consider the Austrian architect as adequatly modern and thus extremely urgent in the present discussions on urban planning. Further reconsideration of the legacy of Camillo Sitte can enrich urban studies and be of great help when drafting holistic attitudes toward urban heritage and contemporary planning practices both in Lithuania and other countries who face many urban dilemmas.
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The article analyses the intellectual evolution, aesthetic attitudes and the main creative tendencies of Vladas Eidukevičius (1891–1941), one of the most prominent founders of Lithuanian national painting school in the first half of the 20th century. It focuses attention upon his relations with traditions of classical fine arts, impressionism, postimpressionism and expressionism. It discusses in details his favorite genres, paintings and the peculiarities of his means of expression. It treats Eidukevičius as a master of subtle coloring who expressed his talent by limited chromatic means.
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The article considers the concept of synesthesia by the originator of abstract painting Wassily Kandinsky. It explicates the close relations between Kandinsky’s abstractionist attitudes and theory of synesthesia. Abstract painting produces universal model of synesthesia, which expresses the formalistic tendencies of Western synesthesia, subsumes the modernist intensions of synesthetic aesthetics and serves as the starting point for many postmodern art works. Kandinsky builds his concept of art on the basis of synesthesia, which expresses the unique identity of all arts and their common structure, e. g. combination of colors produce vibrational frequencies, akin to chords on a piano, and so on. Kandinsky was preoccupied with the concept of painting’s purity, which enables connection of music and painting on metaphysical level. In his theoretical works Kandinsky expresses and generalises his synesthetic experience more freely than in his artistic works.
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The article analyzes the psychology of aesthetics transformation to art psychology in France and Great Britain at the end of the 19th and the first half of the 20th century. The most famous French and British elaborators of art psychology – Victor Bach, Henri’s Delacroix, André Malraux, Jean Weber, Denis Huisman, Robert Francès, Vernon Lee, Edward Bullough – applied the principles of empiricist psychology to the investigation of artistic creativity. They directly related the phenomenon of aesthteticity with the sensations of pleasure and displeasure; applied some elements of empathy theory, enriched by physiological aspects, to the inquiry of creative work and aesthetic perception. As a result of these theoretical and methodological innovations psychology of art become the independent branch of the psychology of aesthetics having its own subject of inquiry, structure and objectives.
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The author of the article discusses the concept of urban planning that was offered by Austrian architect Camillo Sitte at the turn of the last century. During this period and under the pressure of modernist imperatives, the leading urban planners were captured by urban megalomania and demonstrated anindifference to urban heritage and to the principles of aesthetics. The aesthetical dimension of Sitte’s thinking is scrutinized and his concept of urban planning is interpreted as strikingly up to date and modern. The author suggests that Sitte’s role in the history of urban planning still remains somewhat underrated because such influential authors as historian Carl E. Schorske or renowned architect Le Corbusier have drafted a one-sided and often unjust interpretation of Sitte’s theoretical assumptions. The author emphasizes the potential of Sitte’s approach. The author also mentions George R. Collins and Christiane Craseman Collins who consider the Austrian architect as adequately modern and thus extremely urgent in the present discussions on urban planning. Further reconsideration of the legacy of Camillo Sitte can enrich urban studies and be of great help when drafting holistic attitudes toward urban heritage and contemporary planning practices both in Lithuania and other countries who face many urban dilemmas.
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In Witkacy’s aesthetics, the problem of the essence, function and status of music in the system of pure arts has never been finally resolved. Many important questions remained unanswered. In spite of numerous announcements, Witkacy never developed a theory of music. To an extent, this work was unexpectedly carried out by Konstanty Regamey (Constantin Regamey, 1907–1982), Polish-Swiss composer, critic, theorist of music, linguist and India specialist, who for some time was a friend of Witkacy and admitted to being associated with the latter’s aesthetics. In 1933 Regamey published a study Treść i forma w muzyce [Content and Form in Music] which on a number of points follows closely not only Witkacy’s ideas but even his stylistics. In my opinion, yet another essay by Regamey should be taken into consideration in sketching relations between his and Witkacy’s theories of music; it is Próba analizy ewolucji w sztuce [An Attempt at Analysis of Evolution in Art]. The inclusion of these and other issues relating to music in a more detailed discussion of Witkacy’s aesthetics allows us both to understand this aesthetics better, and to dispel some of the hastily made and still unanswered criticisms.
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In the article Witkacego próba podmiotu – podmiot na próbę [Witkacy’s Attempt at a Subject– a Subject for a Test] the subjective identity of S.I. Witkiewicz is characterised by means of the widely understood category of a trial. This latter is interpreted from the view of theatrical aesthetics, but also philosophy, enables to show the biography and oeuvre of the artist from Zakopane as a continuous game between constructing and deconstructing of the subjective identity. The category of subjectivity becomes here a tool of revealing of the mechanisms, making it possible to remove boundaries between art and life, reality and fiction, literature and theory. Whereas in the interpretation proposed this attempt appears as a very literally understood experiencing of oneself, “putting oneself to the test”, but also as an attempt at literature (in the area of theory) and an attempt at theory (in the area of literature).
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The essay explores a theme of differences between the two Witkiewiczes – father and son. These disparities concern lifestyle, ethics, politics and art. The father wanted his son to realize his own ideas of art. In the son’s opinion the father’s idea had failed and in turn he invented an even more radical aesthetics. Lovran is a place where the basic categories of Witkacy’s theory of Pure Form were formulated.
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Wiele już napisano o sprzecznościach i braku spójności systemu Witkacego, którego jednolita pełnia tym bardziej nam się wymyka, im bardziej usiłujemy ją uchwycić. Mnożono schematy interpretacyjne, by znaleźć łączniki między rozmaitymi punktami jego wizji świata, ontologii, historiozofii czy estetyki. Chcąc ująć „inaczej” oraz wyabstrahować to, co – bez przekłamania – nie może być inne, niż jest, próbuje się na próżno uchwycić istotę jego dzieła literackiego w innym niż ojczysty języku, co kończy się z reguły nieporozumieniem w zakresie terminologii i okazuje przedsięwzięciem niemożliwym czy wręcz absurdalnym.
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The aesthetic band – in contrast to the bandwidth, i.e. the distribution channel – is a socially and historically conditioned cluster of aesthetic expectations presented by readers-buyers, represented by their majority, which in the egalitarian, post-modern, and free market society, determines the shape of the publishing market and the circuits it consists of. The author believes that the aesthetic band should be analyzed in the context of both individual and collective expectations of the reading audience in relation to the book content and its subject-matter, as well as in relation to the literary and non-literary production. In the last part of the paper, the author puts forward a proposition that the aesthetic band might be considered as a tool of ideology.
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In universal consciousness, Tadeusz Kantor is an artist of theatre, painter, creator in other fine arts, but also author of a great number of writings on aesthetics, manifestos, sketches, essays, notes from rehearsals, dramatic scores and of some poems. What is characteristic is that various forms of writing, which by assumption are a theoretical expression of Kantor's ideas on theatre or fine arts, at the same time obtain a character of a literary work while his verses direct one towards theory. Painting, theatre and ideas connected with them are supplemented in the act of writing, which becomes a necessity for Kantor. The author of Dead Class changes the theatrical project into a literary project and in his writing he intermingles drama, commentary, theatre, his own theoretical and biographical reflections, observations of a masterpiece and states of his own consciousness. He plays theatrical ideas not only on the stage but also in theoretical texts and in verses. It is just in writing that the artist from Wielopole establishes anew the relations between theatre, literature and his own biography.
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From the times immemorial the concept of beauty fascinated philosophers and artists who tried to define it in their works. Even various mythologies and religions reveal this preoccupation with beauty, emphasizing such criteria as proportion, symmetry, virtue, unity, goodness, or such oppositions as harmony vs. chaos, light vs. darkness etc. The attitude toward beauty, as well as the relationship between divinity and beauty changed considerably with the passage of time. The aim of this study is to reveal how the concept of beauty of the Western canon becomes deconstructed and reconstructed in the postmodern novel Birds Without Wings by Louis de Berniéres. The novel, which is set in an Ottoman town at the beginning of the twentieth century, reflects the loss of unity and beauty in an apocalyptic world. Initially presented as a paradisiacal space, Eskibahçe loses its harmony, virtue, and proportion, decaying into chaos.
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The female image takes place as an aesthetic form in all aspects of the daily plastic arts from the Neolithic period. In the period from the early ages to the present day, the woman has been subjected to violence as a learned emotion from the inside and still remains today. In particular, the violence applied to women in our time continues to bear similarities to the ways in which civilizations, social life styles and practices of life, while maintaining their continuity, apply violence. For centuries, the artistic treatment of women, violence and sacrifice has continued to be processed with different techniques and forms without losing any aesthetic value. It is seen that the sacrificial scene of Polyksena was processed on ceramic surfaces since 525 BC. From various disciplines of plastic arts, 242 from the 14th century to the 21st century, she created a source of inspiration for artists. Polyksena, one of the main characters of the story at the end of the Trojan war, presents the myth of the tragic sacrificial women's stories as the most realistic way of working today.
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Montage is a path that aims at eliminating shooting mistakes or defects of actors due to emergence in cinema history, but beyond that, it carries artistic and aesthetic concerns. The mechanical orientation of the cutter gives a simple cut-off merge which means mounting the front planar area; montage incorporates features that require more aesthetics and talent. The scenario, which is formed with a preconceived thought made by editing the images after shooting, is taken in its 302 own integrity and the images are arranged in the direction of the scenario and added to the audience with the necessary sound and effects added. Or, in its simplest terms, it is a combination of thematically related images in itself. Having basic functions such as combining, correcting, abbreviation and building, the montage is the greatest assistant in the fact that the art of cinema is at this point and he has developed as an aesthetic art. Although the aesthetic aspect is backed by the development of digital technology, the montage has not lost anything from the beginning of the cinema since the aesthetic value added. In the study, the views on the aesthetic contribution of montage that the indispensable elements of the cinema are taken up.
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Tarih öncesi dönemde, genellikle bir işleve hizmet etmek amacıyla üretilen seramikler, her birinin kendi zamanı içinde tekrarlanmasıyla kendi geleneğine ulaşmasını sağlamıştır. Üretim tekniği, bezeme türleri, pişirim şekli ya da kullanım yeri bu geleneğin tanımlayıcı birimleridir. Karaz seramikleri için bu durum tamamen tipiktir. Hatta bu seramik geleneği, kültürün geleneğini tanımlayan kanıtlar olmuştur. Günümüzden yaklaşık 5 bin yıl öncesine baktığımızda, bu kültürü kendi zamanımızın bulunduğu seviyeden değerlendirmek, zaman zaman yanlış olabilecek üst değerlendirmelere neden olabilir. Bu nedenle, daha çok geleneksel kültür nesnesi olarak yorumlanan seramiklerle ilgili, sanatsal değerlendirme yapıldığında, zaman konusu kendi gerçekliğinde değerlendirilmelidir. Bir sanatsal nesneyi/arkeolojik buluntuyu/sanat eserini(?) hangi sanat akımından değerlendirmeye çalışırsak çalışalım; ulaşacağımız sonuç, söz konusu nesnenin kavramına yönelik değerlendirmeler özelliğinde olacaktır.
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Ancient Greek Philosophers' philosophical opinions on "Beauty" and their influence in renaissance art will be studied in this works. Thus firstly philosophers in Ancient Greek with remarkable "beauty" opinion and their opinion on the subject will be studied. Later, influence of these opinions on the Renaissance art will be shown with examples. During this study, "Beauty" idea in Renaissance and this idea's art and it's aesthetic reflection will be studied and explained with Ancient Greek idea of "beauty".Ancient Greek Philosophers' philosophical opinions on "Beauty" and their influence in renaissance art will be studied in this works. Thus firstly philosophers in Ancient Greek with remarkable "beauty" opinion and their opinion on the subject will be studied. Later, influence of these opinions on the Renaissance art will be shown with examples. During this study, "Beauty" idea in Renaissance and this idea's art and it's aesthetic reflection will be studied and explained with Ancient Greek idea of "beauty".
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İdeal güzellikle eş görülen sanatın içine çirkinin girmesi süreci yüzyıllar sürdü. Öte yandan güzel ve çirkin karşıtlığı her daim hem estetiğin ve sanatın hem de gündelik yaşamın ana akslarından birisi olmayı sürdürdü. Güzellik ve onun üzerine dönen endüstri, çağdaş dünyaya adını tarihte en büyük kar getiren sektörlerden birisi olarak kazıdı. Öyle ki kent mobilyalarından, bulaşık makinesine kadar herşey güzellikle olan ilişkisi içinde kendine pazar bulmaya başladı. Kapitalist dünyanın tüketim çılgınlığının doruğu, güzelliğe yapılan maddi ve manevi yatırımlarla pompalandı. Sadece kadın güzelliği değil, erkek güzelliği de bundan payını fazlasıyla aldı. Yeni kuşak Alman yazarlarının en önde gelenlerinden birisi olan Marius von Mayenburg "Çirkin" adlı oyununda, hayatın her alanına yayılarak insanları "güzel" bir kabuğa dönüştüren bu furyayı son derece sert bir toplumsal çözümleme ve eleştiriyle birlikte kaleme almıştır. Çirkin-güzeltüketim-ahlak-kapitalizm-sistem ekseninde ilerleyen ve ülkemizde de büyük ilgi gören bu oyun, niteliksel yöntemle, dramaturjik formalist analizle incelenerek, yazarın oluşturduğu bireyden sisteme uzanan çürümenin ve çirkinleşmenin bir çözümlemesi yapılacaktır. Güzelliğin çağdaş dünyadaki yıkıcı etkilerinin kapitalizmin hastalıklarından birisine dönüşmesi süreci, kendisi de güzelin malzemesi olan dram sanatından bir örnek vasıtasıyla aktarılacaktır.
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Bryophytes are the oldest of all land plants and are believed to be the closest remaining link between land and aquatic plants. Their soft tissue makes fossil records bleak but the oldest evidence that has so far been found can be dated back to almost 500 million years ago. Spore-like structures of a liverwort were found in Argentinian rock dated to 473-471 million years old. The first evidence of mosses appears much more recently between fossils aged between 299-250 million years old. Due to the poor preservation of Bryophyte species, it is quite possible that the Bryophytes are significantly older. The bryophytes are the second largest group, exceeded only by the Magnoliophyta – the flowering plants (350,000 species). Their nearest algal relatives appear to be members of the Charophyta. Bryophytes are generally considered the first land plants. The role of bryophytes in the ecosystem is significant despite their small size. Aquatic mosses are generally chosen for their aesthetic qualities; they can also contribute to improved water quality. As photosynthesizing plants, aquatic mosses absorb nutrients in your aquarium water, including nitrates, from the water column. Where other plants require high light levels to accomplish this, or a regular fertilizing regime, aquatic mosses are effective nitrate removers without high light levels or fertilizer.
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