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Relevant bibliographies by topics / Art Paintings

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Academic literature on the topic 'Art Paintings'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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Journal articles on the topic "Art Paintings"

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Barron, Irving R., and Gaurav Sharma. "Toward CanvasChain: A Block Chain and Craquelure Hash Based System For Authenticating and Tracking Fine Art Paintings." Electronic Imaging 2020, no. 4 (2020): 399–1. http://dx.doi.org/10.2352/issn.2470-1173.2020.4.mwsf-399.

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Determining the authenticity of a painting is not an easy task. First, distinguishing fake paintings from originals is challenging, and often even art experts cannot reliably identify forgeries. Counterfeiters can also create spurious documentation to support the “authenticity” of fake paintings. In this work, we present work toward CanvasChain, a system for authenticating/tracking paintings that uses a blockchain in combination with a robust hash of the crack patterns (craquelure) on the surface of paintings. The robust hash is used as a painting’s fingerprint, which is used in a blockchain to validate and authenticate the painting. We present an initial realization of CanvasChain using a robust hash based on the BRISK feature descriptor and the neo blockchain, which supports smart contracts for basic required transactions. We present results from tests conducted on the proposed system to assess both the robust hash and the blockchain. Cost estimates obtained from the prototype realization indicate that the system is cost effective: e.g. it costs approximately US $1.85 to register a painting and benefit from the blockchain. As future work, we identify additional components required to make CanvasChain a full-fledged solution.

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Yang, Hongyi, and Han Yang. "Evolution of Entropy in Art Painting Based on the Wavelet Transform." Entropy 23, no. 7 (2021): 883. http://dx.doi.org/10.3390/e23070883.

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Quantitative studies of art and aesthetics are representative of interdisciplinary research. In this work, we conducted a large-scale quantitative study of 36,000 paintings covering both Eastern and Western paintings. The information entropy and wavelet entropy of the images were calculated based on their complexity and energy. Wavelet energy entropy is a feature that can characterize rich information in images, and this is the first study to introduce this feature into aesthetic analysis of art paintings. This study shows that the process of entropy change coincides with the development process of art painting. Further, the experimental results demonstrate an important change in the evolution of art painting, and since the rise of modern art in the twentieth century, the entropy values in painting have started to become diverse. In comparison with Western paintings, Eastern paintings have distinct low entropy characteristics in which the wavelet entropy feature of the images has better results in the machine learning classification task of Eastern and Western paintings (i.e., the F1 score can reach 97%). Our study can be the basis for future quantitative analysis and comparative research in the context of Western and Eastern art aesthetics.

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Kasnowihardjo, Gunadi. "GAMBAR CADAS KALIMANTAN TIMUR: Satu Bukti Seni Lukis Kutai Purba." Berkala Arkeologi 28, no. 2 (2008): 13–22. http://dx.doi.org/10.30883/jba.v28i2.360.

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Art including painting is an element of culture. Therefore art also becomes an object of archaeological research. Rock art paintings found in prehistoric caves in Kutai Timur regency of East Kalimantan Province are categorized as art paintings of prehistoric era. In prehistoric archaeology, arts and religion were difficult to be separated. Rock art paintings should be analized by religion approach and arts approach as well.

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Yu, Lan, and Yukari Nagai. "An Analysis of Characteristics of Children’s Growth through Practical Art." Healthcare 8, no. 2 (2020): 109. http://dx.doi.org/10.3390/healthcare8020109.

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Children’s paintings reflect their growth environments and psychological conditions, and these growth environments represent children’s family and educational environments in primary schools. The characteristics of these paintings change as children grow, and children’s expressiveness in the paintings also improves. Children’s paintings are a representation of their perceptions of things; children transform their perceptions into images that can be understood and observed by people. This research studies the growth characteristics of children based on professional painting techniques. A digital image analysis method was used to analyze the painting techniques of children aged between 7 and 13. The growth characteristics of the different age groups were combined to analyze the representative characteristics of children’s paintings at different ages. Lastly, the results of part of a questionnaire survey were used to assist in studying these characteristics. Analysis of these paintings shows that children have a poor ability to control the scale of the objects. Furthermore, the details of the objects are ignored, and children have a poor imitation ability. Young children have lower spatial cognitive abilities than older children, and girls prefer to participate in painting more than boys.

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Chen, Hanyi, and Hua Li. "Painting Creation in the Context of Contemporary Art: A Brief Discussion on the Painting Art of Marlene Dumas." Region - Educational Research and Reviews 3, no. 1 (2021): 20. http://dx.doi.org/10.32629/rerr.v3i1.243.

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Easel painting shined in modern art, however, its influence faded in contemporary art. Marlene Dumas, a contemporary artist in the field of easel painting, displays a form differentiated from modern art in her paintings. Her creations break the inherent traditional image mode; her thoughts on artistic concepts are based on the study of artistic language. She holds a strong concern for the issues of social life, and demonstrates true feelings and emotions in the paintings.

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Feller, C., E. R. Landa, A. Toland, and G. Wessolek. "From soil in art towards Soil Art." SOIL Discussions 2, no. 1 (2015): 85–132. http://dx.doi.org/10.5194/soild-2-85-2015.

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Abstract. The range of art forms and genres dealing with soil is wide and diverse, spanning many centuries and artistic traditions, from prehistoric painting and ceramics to early Renaissance works in Western literature, poetry, paintings, and sculpture, to recent developments in cinema, architecture and contemporary art. Case studies focused on painting, installation, and cinema are presented with the view of encouraging further exploration of art about, in, with, or featuring soil or soil conservation issues, created by artists, and occasionally scientists, educators or collaborative efforts thereof.

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Aytaç, A. "Turkish textiles which have been described in paintings of artist Şevket Dağ." Universum Humanitarium, no. 1 (July 13, 2021): 73–89. http://dx.doi.org/10.25205/2499-9997-2021-1-73-89.

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The perception of painting that started with the Turks, the Gokturks and the Uighurs was expressed mostly in miniature after Islam. There was a false perception that Islam imposed a ban on painting. Therefore, not much painting art was seen in the Ottomans until recently. There are mostly miniature paintings in the Ottomans. The art of painting has developed in the last periods of the Ottoman Empire. One of the most important representatives of that period was Şevket Dağ. She is one of the first graduates of Şevket Dağ Sanayi-i Nefise School. There are no foreign influences in Şevket Dağ's paintings. There are painting techniques in purely national characters. In the article there are five paintings depicting Turkish carpets. Five paintings in which the furniture and architectural features of the period are depicted together with the carpets will be emphasized.

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Bueno Ramírez, Primitiva, Rodrigo De Balbín Behrmann, Luc Laporte, et al. "Paintings in Atlantic Megalithic Art: Barnenez." Trabajos de Prehistoria 69, no. 1 (2012): 123–32. http://dx.doi.org/10.3989/tp.2012.12083.

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B.K., Jyoti Prakash. "Nepali Painting: Traditional Motifs in Modern Art." Journal of Advanced Academic Research 3, no. 1 (2017): 173–76. http://dx.doi.org/10.3126/jaar.v3i1.16626.

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Art is mirror of society. Human Civilization developed through art. Philosopher Langinus said that the power of the art is to create sublime to viewers. There is lot of philosophy in art history but still no any conclusion or scientific answer about the art but art is more contemporary due to the globalization and individual expression. In the case of Nepali art, before the "Kirat" and "Lichhabi" period had also some paintings and sculpture. Because of the weak surface we didn't have any paintings but can know from the petrography of Lichhabi period. In the world the ancient time had been found to be developing from religious and cultural development. It is absolutely relevant to be saying that the Nepali paintings were also the cause of the religious development. The history of the Nepali painting had been developed on religious base from the history to contemporary situation. So the main objective of the research is to find the core relation between traditional and modern painting.

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Schmitter, Monika. "TheQuadro da Portegoin Sixteenth-Century Venetian Art*." Renaissance Quarterly 64, no. 3 (2011): 693–751. http://dx.doi.org/10.1086/662848.

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AbstractDuring the sixteenth century a symbiotic relationship developed between the form, use, and symbolic associations of the Venetian portego, the central reception and entertainment hall of Venetian palaces, and the paintings that were increasingly commissioned to ornament these spaces. The intended placement of the paintings affected their size, format, composition, subject matter, and contemporary interpretation. At the same time, the works of art themselves reflected upon and helped to define the social meanings of the space and the activities taking place there. Analyzing documentary sources and surviving paintings reveals the degree to which we can speak of thequadro da portegoas a distinctive type of Venetian painting.

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Dissertations / Theses on the topic "Art Paintings"

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Watson, Leonie. "Collecting the self paintings /." Access electronically, 2006. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20070821.122506/index.html.

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Bundgaard, Helle. "An Indian cloth painting and its art worlds : perceptions of Orissan patta paintings." Thesis, SOAS, University of London, 1994. http://eprints.soas.ac.uk/29346/.

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This study examines how a particular kind of Indian painting comes to have value. The focus of analysis is on the social life of paintings rather than the purely aesthetic. This is explored through a detailed examination of perceptions of the paintings amongst producers, consumers and art critics. The study is an attempt to apply the sociological institutional theory of art on Orissan patta paintings by developing the sociological approach into what I consider to be an anthropological approach. The Orissan patta paintings, with which the study is concerned, are circulated not only within India but also abroad and thus move through different cultural milieus. Following Arjun Appadurai (1986) pattas can be said to have a social life, whose value and meaning change through time and place (1986). The paintings are located in several value systems. These systems will often meet in the very transaction which moves a painting from one sphere to another. One of the central questions raised in the thesis is how particular kind of paintings come to have value and whether they are endowed with different layers of value. The model I have developed is of an art world consisting of interpenetrating layers with different semantic registers. The differences in evaluation and interpretation of the paintings at different points in their "social life" lead me to argue that the layers have the character of separate yet interacting worlds.

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Sapwell, Mark Andrew. "Art of accumulation : the role of rock art palimpsests in Fennoscandia 4500-1200 BC." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648511.

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D'Elia, Una Roman. "The poetics of Titian's religious paintings /." Cambridge : Cambridge University Press, 2005. http://catalogue.bnf.fr/ark:/12148/cb39938959v.

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Zhang, Naijun. "Recent paintings untitled /." Morgantown, W. Va. : [West Virginia University Libraries], 2000. http://etd.wvu.edu/templates/showETD.cfm?recnum=1642.

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Thesis (M.F.A.)--West Virginia University, 2000.<br>Title from document title page. Document formatted into pages; contains iii, 21 p. : col. ill. Vita. Includes abstract. Includes bibliographical references (p. 9).

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Garlake, Peter Storr. "Rock art in Zimbabwe." Thesis, SOAS, University of London, 1992. http://eprints.soas.ac.uk/29499/.

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This work is based on the comparative iconographic analysis of a distinct corpus of paintings within the Later Stone Age, Bushman or San art of southern Africa. They are distinct from the rest of the paintings of the region in age, numbers, variety, complexity and density. It defines in detail the principles that determined the form of the paintings - where the primary concern was to depict objects through outline alone - and the canon - the very restricted range of subjects that were depicted. It demonstrates that the human imagery established a set of archetypes, expressing concepts of the roles of men and women in the community through a set of readily legible attributes. The art was thus in essence conceptual and, of its nature, not concerned with the individual, illustration, narrative, documentation or anecdote. Within this framework, the paintings focused on concepts of the various forms and degrees of supernatural energy or potency that all San have believed to be inherent in every person. Further studies demonstrate how large and dangerous animals, particularly the elephant, were conceived as symbols of potency and their hunting as a metaphor for trance. Compositions based on oval shapes and the dots within and emanating from them are shown to be further symbols of aspects of potency. Many recurrent and hitherto ignored motifs attached to human figures are shown to be a graphic commentary on the metaphysics of the archetypes. The study is set in the context of the archaeology of the sub-region, recent studies of San concepts, perceptions and beliefs, a review of previous research, and a critique of influential recent South African work which first integrated paintings with San beliefs.

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Ritter, Domink. "The art of suicide : the pain in paintings." Thesis, University of Hertfordshire, 2009. http://hdl.handle.net/2299/2804.

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This research projects deals with the question of whether the paintings of artists who have committed suicide is reflective of their mental states both in terms of content and form. It specifically attempts to answer whether the deterioration in mental state from a time of better mental health to the time of their suicide is expressed graphically in the paintings of those artists and whether this can be reliably observed. It was discovered that paintings in the absence of contact with or interpretation by the artists, provided enough information to enable non-expert judges to make reliable global content-related judgements (e.g. destructiveness and hopelessness) as well as form-specific ratings (e.g. lack of detail) that distinguished between paintings created near the time of artists’ suicides and their paintings created at a time of better mental health as well as paintings from artists who were suffering from depression. It was also found that non-expert judges were able to correctly identify paintings that were created just before artists’ suicides as reflecting serious mental health problems. Furthermore, it was discovered that there was a general preference for paintings from depressed artists over the last paintings by artists who have taken their own lives. The implications of these findings for clinical work both in terms of assessment and treatment were discussed. Furthermore, several limitations of this research project were noted and suggestions for future research were provided.

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Land, Robert William. "Little Paintings." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/1035.

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Little Paintings is a document that describes the creation, influences and process of two films, "Betty Creek" and "New Berlin". The films are personal responses to my experiences growing-up and living in the Southern United States. The Thesis illustrates the influences of painters such as Jimmie Lee Sudduth and Willie Jinks and how their raw painting methods inspire the development of my films using a tactile approach to filmmaking.

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Phillips, Shirley. "Bellori's ekphraseis of Poussin's paintings." Thesis, University of Essex, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343269.

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Streeter, Stephanie. "Stray: Paintings, Drawings, and Sculpture." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/honors/18.

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The artist discusses her Bachelor of Fine Arts Exhibition, Stray, held at Slocumb Galleries, East Tennessee State University, from April 4th to April 8th. The show exhibit consists largely of self-portraits derived from the artist’s dreams, in an array of media including mixed media on paper, oil on canvas, and wire frame sculpture, all completed in the Spring of 2011, with the exception of one sculpture. Ideas explored include the influence of dreams, representation of the self, masking, disguising, the loss of home, and the tendency of memory to fade. Influences discussed include the written work of Milan Kundera, as well as the painting of Marlene Dumas, the early printmaking of Paul Klee, and the work of John Currin.

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Books on the topic "Art Paintings"

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Deem, George. Art school: Paintings. Thames and Hudson, 1993.

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Werner, Forman, ed. Egyptian art: Drawings & paintings. Hamlyn, 1989.

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Art & Language. Art & Language: The paintings. Lisson Gallery, 1987.

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Roerich, George Nicholas. Tibetan paintings. Gian Pub. House, 1985.

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Tibetan paintings. Gian Pub. House, 1985.

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Halley, Peter. Peter Halley: Paintings. Waddington Galleries, 2001.

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Smith, Ang. Anj Smith: Paintings. Foundation 20 21, 2007.

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Janet Fish: Paintings. Harry N. Abrams, 2002.

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1949-, Adams Henry, ed. George Dombek: Paintings. University of Arkansas Press, 2014.

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Aigret, Jaimée M., producer, film editor and Teaching Company, eds. The world's greatest paintings. Teaching Company, 2010.

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Book chapters on the topic "Art Paintings"

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Levinson, Jerrold. "Paintings, photographs, titles." In Figuring Out Figurative Art. Routledge, 2021. http://dx.doi.org/10.4324/9781315744179-13.

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Gaskell, Ivan. "Why Paintings? Why Art?" In Paintings and the Past. Routledge, 2019. http://dx.doi.org/10.4324/9780429199349-1.

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Bellucci, Roberto, and Cecilia Frosinini. "CHAPTER 13. Underdrawing in Paintings." In Science and Art. Royal Society of Chemistry, 2020. http://dx.doi.org/10.1039/9781839161957-00269.

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Handberg, Kristian. "Cosmonaut Paintings as Contemporary Art." In New Histories of Art in the Global Postwar Era. Routledge, 2021. http://dx.doi.org/10.4324/9780367140854-20.

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Pesce, Laura. "Rock Paintings: Primordial Graffiti." In Close Encounters of Art and Physics. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-22730-2_1.

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Gaskell, Ivan. "Paintings That Might or Might Not Be Art." In Paintings and the Past. Routledge, 2019. http://dx.doi.org/10.4324/9780429199349-6.

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Gaskell, Ivan. "Paintings That Might or Might Not Be Art." In Paintings and the Past. Routledge, 2019. http://dx.doi.org/10.4324/9780429199349-7.

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Wang, James Z., Baris Kandemir, and Jia Li. "Computerized Analysis of Paintings." In The Routledge Companion to Digital Humanities and Art History. Routledge, 2020. http://dx.doi.org/10.4324/9780429505188-27.

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Carroll, Michael. "Rocks & Balls: Classical/Naturalistic Paintings." In The Beauty of Space Art. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49359-2_9.

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Davidson, Iain. "Variation in Early Paintings and Engravings." In A Companion to Rock Art. John Wiley & Sons, Ltd, 2012. http://dx.doi.org/10.1002/9781118253892.ch4.

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Conference papers on the topic "Art Paintings"

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Lu, Yue, Chao Guo, Xingyuan Dai, and Fei-Yue Wang. "Image Captioning on Fine Art Paintings via Virtual Paintings." In 2021 IEEE 1st International Conference on Digital Twins and Parallel Intelligence (DTPI). IEEE, 2021. http://dx.doi.org/10.1109/dtpi52967.2021.9540081.

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Lioret, Alain. "Being paintings." In the ACM SIGGRAPH 05 electronic art and animation catalog. ACM Press, 2005. http://dx.doi.org/10.1145/1086057.1086145.

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Gunsel, B., S. Sariel, and O. Icoglu. "Content-based access to art paintings." In rnational Conference on Image Processing. IEEE, 2005. http://dx.doi.org/10.1109/icip.2005.1530116.

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Smolka, Bogdan, Rastislav Lukac, Konstantinos N. Plataniotis, and Anastasios N. Venetsanopoulos. "Robust retrieval of fine art paintings." In Optical Metrology, edited by Renzo Salimbeni. SPIE, 2003. http://dx.doi.org/10.1117/12.504101.

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Bai, Rui, Huang Ling, Zhao Kai, Donglian Qi, and Qiao Wang. "Author recognition of Fine-Art paintings." In 2019 Chinese Control Conference (CCC). IEEE, 2019. http://dx.doi.org/10.23919/chicc.2019.8865492.

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Zhang, Kang, and Jinhui Yu. "Generating abstract paintings in Kandinsky style." In SIGGRAPH Asia 2013 Art Gallery. ACM Press, 2013. http://dx.doi.org/10.1145/2542256.2542257.

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Tominaga, Shoji, Mariko Nakagawa, and Norihiro Tanaka. "Perceptually-based image rendering of art paintings." In ACM SIGGRAPH 2005 Sketches. ACM Press, 2005. http://dx.doi.org/10.1145/1187112.1187265.

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Scholten, Hans, and Dennis A. Schipper. "Advanced workstation for controlled laser cleaning of paintings." In Lasers in Metrology and Art Conservation, edited by Renzo Salimbeni. SPIE, 2001. http://dx.doi.org/10.1117/12.445653.

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Locquet, Alexandre, Junliang Dong, Marcello Melis, and David S. Citrin. "Terahertz imaging for subsurface investigation of art paintings." In Terahertz Emitters, Receivers, and Applications VIII, edited by Manijeh Razeghi, Alexei N. Baranov, John M. Zavada, and Dimitris Pavlidis. SPIE, 2017. http://dx.doi.org/10.1117/12.2274292.

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Carrión-Ruiz, Berta, Silvia Blanco-Pons, and Jose Luis Lerma. "DIGITAL IMAGE ANALYSIS OF THE VISIBLE REGION THROUGH SIMULATION OF ROCK ART PAINTINGS." In ARQUEOLÓGICA 2.0 - 8th International Congress on Archaeology, Computer Graphics, Cultural Heritage and Innovation. Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/arqueologica8.2016.3560.

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Non-destructive rock art recording techniques are getting special attention in the last years, opening new research lines in order to improve the level of documentation and understanding of our rich legacy. This paper applies the principal component analysis (PCA) technique in images that include wavelengths between 400-700 nm (visible range). Our approach is focused on determining the difference provided by the image processing of the visible region through four spectral images versus an image that encompasses the entire visible spectrum. The images were taken by means of optical filters that take specific wavelengths and exclude parts of the spectrum. Simulation of rock art is prepared in laboratory. For this purpose, three different pigments were made simulating the material composition of rock art paintings. The advantages of studying the visible spectrum in separate images are analysed. In addition, PCA is applied to each of the images to reduce redundant data. Finally, PCA is applied to the image that contains the entire visible spectrum and is compared with previous results. Through the results of the four visible spectral images one can begin to draw conclusions about constituent painting materials without using decorrelation techniques.

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Reports on the topic "Art Paintings"

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Rajnovich, G. Reading rock art: interpreting the Indian rock paintings of the Canadian Shield. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2002. http://dx.doi.org/10.4095/216231.

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Zhang, Ling, Brent Holland, and Eulanda Sanders. From Chinese Painting to Wearable Art: The Development of Wearable Art Design Process Model and Evaluation Methods for Wearable Art Designers. Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-1755.

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Miller, Jennifer. The Politics of Nazi Art: The Portrayal of Women in Nazi Painting. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.7033.

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Haumschilt, L. P. 1990 Clean Air Act Impact on Shipyard Painting Operation. Defense Technical Information Center, 1991. http://dx.doi.org/10.21236/ada456103.

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Taylor Tynes, Taylor Tynes. Fresco Painting at the University of South Carolina: Medium of the Past, Art of Today. Experiment, 2016. http://dx.doi.org/10.18258/6800.

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Galenson, David. Masterpieces and Markets: Why the Most Famous Modern Paintings Are Not by American Artists. National Bureau of Economic Research, 2001. http://dx.doi.org/10.3386/w8549.

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Beitelman, Alfred D. Corps of Engineers Painting and Its Compliance with Clean Air Act Regulations. Defense Technical Information Center, 1988. http://dx.doi.org/10.21236/ada200496.

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Frykman, Judith. A series of paintings, drawings, and compositions, oriented toward a fine arts direction in the use of synthetic and mixed media. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.224.

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Seamans, Thomas, and Allen Gosser. Bird dispersal techniques. U.S. Department of Agriculture, Animal and Plant Health Inspection Service, 2016. http://dx.doi.org/10.32747/2016.7207730.ws.

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Conflicts between humans and birds likely have existed since agricultural practices began. Paintings from ancient Greek, Egyptian, and Roman civilizations depict birds attacking crops. In Great Britain, recording of efforts at reducing bird damage began in the 1400s, with books on bird control written in the 1600s. Even so, the problem persists. Avian damage to crops remains an issue today, but we also are concerned with damage to homes, businesses, and aircraft, and the possibility of disease transmission from birds to humans or livestock. Bird dispersal techniques are a vital part of safely and efficiently reducing bird conflicts with humans. The bird must perceive a technique as a threat if it is to be effective. No single technique can solve all bird conflicts, but an integrated use of multiple techniques, each enhancing the other, generally provides relief.

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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.

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