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Journal articles on the topic 'Artistic'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 June 2025

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1

Buranova, Barno. "CONNECTION BETWEEN ARTISTIC EDITING AND ARTISTIC TRANSLATION." American Journal Of Social Sciences And Humanity Research 4, no. 9 (September 1, 2024): 63–69. http://dx.doi.org/10.37547/ajsshr/volume04issue09-10.

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This scientific article investigates the necessity of adhering to linguistic norms and existing editorial principles when editing literary translations from foreign languages, taking into account the shared aspects of translation and editorial criteria. The study focuses on the quality of editing the Uzbek translation of the novel The Alchemist, compared to its English and Russian versions. It examines issues such as preserving the semantic features of the text during the editing process and provides suggestions and recommendations for addressing shortcomings that arise in the editorial process.

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2

Sunardi. "Sunardi KREASI DAN INOVASI SENI PERTUNJUKAN WAYANG SEBAGAI PENGUATAN PRE-ARTISTIC RESEARCH UNIVERSITY." PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT 3 (February 17, 2021): 5–15. http://dx.doi.org/10.33153/semhas.v3i0.131.

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Tulisan ini bertujuan memaparkan hasil kreasi dan inovasi seni pertunjukan wayang sebagai upaya penguatan pre-artistic research university di Institut Seni Indonesia (ISI) Surakarta. Penelitian artistik menjadi penciri utama ISI Surakarta yang terejawantahkan dalam kegiatan pengajaran, penelitian, dan pengabdian masyarakat. Kreasi dan inovasi seni pertunjukan wayang sebagai bagian dari penelitian artistik perlu dikembangkan secara berkelanjutan. Beberapa persoalan yang dibahas pada tulisan ini: (1) pentingnya roadmap penelitian seni pertunjukan wayang; (2) metode kreasi dan inovasi wayang sebagai salah satu model penelitian artistik; dan (3) hasil-hasil kreasi dan inovasi seni pertunjukan wayang sebagai penguatan pre-artistic research university. Roadmap penelitian wayang didasarkan pada problematika eksistensi wayang mulai menurun sehingga diperlukan kajian dan penciptaan wayang dalam berbagai jenis menuju pengembangan wayang Indonesia. Metode kreasi dan inovasi wayang dilakukan dengan eksplorasi, perancangan, proses kreasi-inovasi, dan presentasi karya seni wayang yang mencirikan metodologi penelitian artistik. Beberapa hasil kreasi dan inovasi meliputi wayang babad nusantara, wayang perjuangan, dan wayang sinema diharapkan menjadi penguat fase pre-artistic research university di ISI Surakarta. Kata kunci: kreasi, inovasi, pertunjukan wayang, penguatan, pre-artistic research university

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3

Wannawattawong, Raksarn, Narong Khamwijit, and Emeritus Sakda Pannengpetch. "A STUDY ON ARTISTIC STYLES AND ARTISTISM IN MUSICAL PERFORMANCE." EUrASEANs: journal on global socio-economic dynamics, no. 3(46) (May 30, 2024): 447–53. http://dx.doi.org/10.35678/2539-5645.3(46).2024.447-453.

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Musical performance represents a secondary creation of musical works, necessitating performers to possess a high level of artistic cultivation and a deep understanding of the artistic style inherent in the music. Performers must bring unique aesthetic characteristics to their performances. The performer's personality, temperament, and experience, along with the local cultural background, influence the artistic style in musical performance. Therefore, performers must specifically analyze these influencing factors and explore methods of artistic expression in musical performance. By accurately understanding and interpreting musical works, performers can achieve a perfect rendition.

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4

Mammadov, M. "CRAFT SMANSHIP IN SETTAR BAHLULZADE CREATION ISSUES." POLISH JOURNAL OF SCIENCE, no. 67 (October 17, 2023): 26–27. https://doi.org/10.5281/zenodo.10012593.

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Thesis is a well-known brush master of Azerbaijan. It is dedicated to the artistic issues observed in the work of the people's artist Sattar Bahlulzade. The 34-year period of artistic research, which included portrait, landscape and still life genres in the artist's work, was rich in research. This manifested itself primarily in the performance of works of different genres with different artistic interpretations. In this sense, it should be noted that the artist's handwriting was changed several times. This is also confirmed by the fact that the artist's artistic heritage was expressed in realistic handwriting in the forties of the last century, lyrical in the fifties, laconic-generalized in the sixties, and finally, in the seventies, full of expression 

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5

Mani, Pedro Yugo Sano, and Erik Gabriel Cunha Linhares. "WHY ARTISTIC RESEARCH MATTERS:." Infinitum: Revista Multidisciplinar 7, no. 13 (December 13, 2024): 52–78. https://doi.org/10.18764/2595-9549v7n13.2024.11.

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This text discusses, from the perspective of two brazilian artist-researchers, on the relevance of The Artistic Turn: A Manifesto, an important work written by Kathleen Coessens, Darla Crispin and Anne Douglas in 2009. Focusing on the sixth and last chapter of The Artistic Turn, entitled "Why artistic research matters?", we discuss developments and changes in the realm of AR, investigating the differences between european and brazilian environments and taking into account the idiosyncrasies of carrying out Artistc Research in our context.

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6

PROKOPCHUK, Inna. "MONTAGE AS A FORM OF ARTISTIC THINKING IN THE WORKS OF UKRAINIAN AVANT-GARDE ARTISTS." Bulletin of the Lviv University. Series of Arts Studies 199, no. 23 (2022): 3–16. http://dx.doi.org/10.30970/vas.23.2022.12188.

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The study aims to highlight the concept of understanding the category of montage as a cultural phenomenon that realizes itself as a formative principle of cultural morphology and represents the artistic embodiment of the worldview and socio-cultural attitudes of modernism. Without pretending to be comprehensive, the research focuses on the artistic and technological universality of montage as a tool of artistic perception and reflection of reality in various types of art of the Ukrainian avant-garde of the first third of the twentieth century. On the basis of scientific works,the author determines the representativeness of montage in its species variants, the carriers of which are artistic works designed from elements with different spatial, temporal, iconographic, and stylistic nature. It is noted that montage in the building of works of art has been used since ancient times, before the appearance of the term itself, one of the main creative techniques and an independent artistic phenomenon it became only in the culture of the twentieth century, in the era of modernism and postmodernism that followed. The author sees further study of montage as one of the meaning-forming principles in the artistic and aesthetic system of postmodernism with a tendency to merge not only different types of art, styles, genres and forms, but also the general intellectualisation of art. The artistic experiments of the Ukrainian avant-garde artists were directly inspired by the birth and spread of cinema, on the one hand, and played a key role in its evolution as a new art form, on the other. The artists’ radical discoveries in the representation of modernity, the peculiarities of the city, and the crowded street gave rise to montage theories based on the principles of counterpointing the frames of the reflected reality. Moreover, the montage language, as an element of artistic thinking of the era, became a leading way of understanding the organization of action in the nature of the new life, and the best artists turned to it in their radical search for new forms and content.

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7

Władyka-Łuczak, Zofia. "Artistic Inspiration: Initiation of an Artistic Communication." Acta Universitatis Lodziensis. Folia Litteraria Polonica 54, no. 3 (September 30, 2019): 223–36. http://dx.doi.org/10.18778/1505-9057.54.13.

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The article is an attempt to answer the question: When and why is artistic communication initiated?The analysis which leads to the final conclusion was conducted on the basis of an autoethnographic analysis of the process of creating Pomnik Początków Miasta Łodzi (Monument to the Beginnings of Łódź). Its main element was the search for the border between the pre-creative and the creative states during an artist’s work. The analysis indicated that: “Regardless of whether I am working on a sculpture which was commissioned or a sculpture for myself, the processes of triggering precreative and creative states are similar. I always begin work by collecting the material. I work as constructivists would like me to: I study the elements which refer to various differentiation systems. [...] I am aware of the fact that the expected transition from the pre-creative to the creative state can happen at any moment. Today, after many years, I already know that it is not worth evaluating the gathered material – the triggering of the creative state is going to happen either way.” The core of triggering the creative attitude is the development of the skills for observing the reality which surrounds an artist, and even more importantly: the development of the skills of extracting from it that which we are used to calling inspiration in the whole complex process. The line between the pre-creative and creative states emerges in the moment when an artist decides to transfer a fragment of the reality they noticed to the work of art they are creating. The evaluation of a work of art is a completely different issue, which was omitted in this article.

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8

Jeffery, Brian. "Artistic Dialogue and Artistic Exchange through Movement." Congress on Research in Dance Conference Proceedings 2012 (2012): 81–84. http://dx.doi.org/10.1017/cor.2012.3.

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This article will narrate the process of working in artistic collaboration utilizing traditional Ghanaian dance forms and Western dance-making methods while incorporating a common artistic thread between the two cultures. Invited to create a new work of choreography for the Ghana Dance Ensemble (GDE), the author as guest artist choreographer explored ways of creating a hybrid dance work that honored the artistic footprint of GDE. The choreographer engaged company members, consisting of both dancers and musicians, in daily rehearsals and dialogue about the artistic process and the aesthetic roots from which each artist was grounded. Compositional structures were explored cross-culturally. Traveling out to several field sites, the choreographer was able to view and participate in sacred ceremony for more grounding and artistic information. From this process, a dialogic space was created in which new meanings were shared between cultures and traditional artistic values re-imagined. Dialogue through conversation was not the only exchange of importance. An additional dialogue was that of dancing bodies viewing each other, adapting and integrating change firmly grounded in each other's originating aesthetic footprint. Equally important was the exchange in a culture where it is inherent that the music sounds the dance and the dance moves the music. Thus the dialogue extended itself where the choreographer tried on new ways of thinking about the sounding body just as GDE integrated the choreographer's approaches and made it their own through their own processes of creative invention.

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9

Zeng, Qingliang. "Research on the Aesthetic Orientation of Artistic Creation in Virtual Reality Scenes." Journal of Education and Educational Research 9, no. 2 (July 10, 2024): 34–38. http://dx.doi.org/10.54097/zww7cr98.

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With the advancement of science and technology, virtual reality technology has gradually penetrated into the field of artistic creation, providing artists with a new creative platform and aesthetic experience space. This paper explores the aesthetic orientation of artistic creation in virtual reality scenes and its influencing factors, so as to provide useful reference for researchers and practitioners in related fields. Through the discussion of immersive aesthetic experience, interactive aesthetic participation and diversified aesthetic expression, it reveals how virtual reality technology brings revolutionary changes to artistic creation. This change is not only reflected in the presentation of artworks, but also goes deeper into the audience's aesthetic psychology and the artist's creative concept. There are many factors that affect the aesthetic orientation of artistic creation in virtual reality scenes. Such as technical factors, cultural factors, and the artist's creative intentions. Typical virtual reality art creation cases are selected for analysis, which not only shows the wide application of virtual reality technology in artistic creation, but also reveals the formation process and influencing factors of different aesthetic orientations. With the continuous advancement of technology and the continuous innovation of art, artistic creation in virtual reality scenes will be richer.

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10

Hala, Majlinda, and Nazmi Xhomara. "Didactic-Artistic Tools and Artistic Works Demonstration Contribution to Students’ Artistic Skills Development." Pedagogika 148, no. 4 (March 7, 2023): 229–47. http://dx.doi.org/10.15823/p.2022.148.12.

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The goal of the study was to investigate the impact of didactic tools and works demonstration on the artistic skills development. The study found a high positive correlation between didactic-artistic tools and artistic skills development, as well as between artistic works demonstration and artistic skills development. Didactic-artistic tools explain respectively 84.5% and 52.8%; meanwhile, artistic works demonstration explains 92.7% and 79.4% of the variance of artistic skills development.

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11

Musrikah, Siti. "Pengelolaan Supervisi Artistik Kepala Sekolah Dasar Negeri 1 Selojari Klambu Grobogan." Jurnal VARIDIKA 28, no. 1 (September 18, 2016): 51–58. http://dx.doi.org/10.23917/varidika.v28i1.2404.

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This study aimed to describe and analyze the implementation of the artistic supervision of Selojari 1 elementary school and to describe and analyze any obstacles faced in learning supervision artistict. Type of this research research is called qualitative research. The collection of data carried out by means of in depth interviews, observations, and use of documents. Data were analyzed with data reduction, data presentation, and draw conclusions. The result of this research showed that artistic supervision planning in Selojari 1 elementary school is to make an systematic artistic supervision format. Implementation of artistic supervision through classroom visits, observe teaching learning activities and also classroom administration aspec. Supervision carried out periodically. Implementation feedback artistic supervision carried out by the headmaster as supervisor by making a connection humanist, harmonious and appreciate the personal character and talents of teachers.

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12

Teodora, Hubenco. "Artistic Perception of Visual Art Works - Imperative of Art Education." Journal of Educational Theory and Practice DIDACTICA PRO... 22, no. 2-3 (132-133) (June 22, 2022): 20–23. https://doi.org/10.5281/zenodo.6685274.

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 The complexity of artistic perception is defined by the contradictions between subjective and objective, by the rapport between the rational and the emotional, real perceptions and creative abilities. Artistic perception is a complex matter that requires a multilayered approach: the development of perception in an emotional-logical way; the union of the act of artistic creation with the act of artistic perception; the decoding of the visual creative language through the lens of the sensibilities of the individual receptor; the manifestation of the received message by the receptor; the understanding of the author’s message in the visual work of art; the artistic communication of the receptor with the author of the visual art via his/her work.   

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13

Popean, Mihai. "Artistic Scientometry and the astri-index / Scientometria artistică și indexul astri." Tehnologii informatice și de comunicație în domeniul muzical / Information and communication Technologies in Musical Field 15, no. 2 (November 25, 2024): 59–64. https://doi.org/10.47809/ictmf.2024.02.06.

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The h-index (Hirsch, 2005) is one important measure of scientometric relevance in the world of scientific research. There is no such index as far as arts are concerned, regardless of the kind of art we could refer to. This article proposes the astri or a-index, meaning the artistic, scientific and technological research index, a Hirsch index homologue specialized for this exceptionally complex domain of the arts, in this particular case, music.

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14

Valachová, Daniela. "Prejavy agresivity vo výtvarnom prejave žiakov mladšieho školského veku." Studia Scientifica Facultatis Paedagogicae Universitas Catholica Ružomberok 22, no. 2 (2023): 83–90. http://dx.doi.org/10.54937/ssf.2023.22.2.83-90.

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The paper is a theoretical study that characterizes the basic features of the artistic representations of young school-age pupil and the aggressive manifestations that can be found and diagnosed in the artistic representations at this age. In addition to general characteristics, we also present specific visual features that may be suggestive of the artist's expressions of aggression. The knowledge of possible manifestations of aggression in artistic expression is of pedagogical value.

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15

Zaripova, Rushana. "PORTRAIT-AS A PSYCHOLOGICAL IMAGE METHOD." MODERN SCIENCE AND RESEARCH 2 (October 20, 2023): 140–48. https://doi.org/10.5281/zenodo.10027897.

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<i>Portrait is one of the image tools that help to clearly imagine the characters of the work of art. That is, the artist's artistic skill can be determined by his portrayal of the portrait of a literary hero. In this article, the role of the portrait in the emergence of artistic psychologism, artistic skills and their research are covered in detail using the example of the works of Abduqayum Yoldosh.</i>

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16

Bennett, Jory, and Gregory Roscow. "Artistic Beliefs." Musical Times 133, no. 1789 (March 1992): 129. http://dx.doi.org/10.2307/966434.

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17

Beaujon, Danielle. "“Purely Artistic”." Historical Reflections/Réflexions Historiques 46, no. 2 (September 1, 2020): 89–109. http://dx.doi.org/10.3167/hrrh.2020.460206.

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Following World War II, French police surveillance in Algeria increasingly focused on the threat of Algerian nationalism and policing theater proved no exception. The police assiduously investigated the contents of plays and the background of performers, seeking to determine whether a performance could be considered “purely artistic.” In cracking down on theater, the police attempted to produce “pro-French” art that could influence Algerian loyalties, a cultural civilizing mission carried out by the unlikely figure of the beat cop. Ultimately, their mission failed. Live performances presented an opportunity for spontaneity and improvisation that revealed the weakness of colonial policing. In this article, I argue that in trying to separate art from politics, the police created an impossibly capacious idea of the political, giving officers justification for inserting themselves into intimate moments of daily life. The personal, the interpersonal, and the artistic became a realm of police intervention.

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18

Paterson, Susan. "Artistic Insights." International Journal of the Arts in Society: Annual Review 5, no. 2 (2010): 217–22. http://dx.doi.org/10.18848/1833-1866/cgp/v05i02/35831.

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19

Hospers, John. "Artistic Creativity." Journal of Aesthetics and Art Criticism 43, no. 3 (1985): 243. http://dx.doi.org/10.2307/430638.

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20

Detamore-Rodman, Crystal. "Most Artistic." CFA Institute Magazine 18, no. 6 (November 2007): 58–61. http://dx.doi.org/10.2469/cfm.v18.n6.4918.

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21

Scarborough, Troy L. "Artistic Reparations." Theatre Symposium 29, no. 1 (2022): 100–109. http://dx.doi.org/10.1353/tsy.2022.0008.

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22

Seroussi, Julien. "Artistic Investigations." Critique d’art, no. 58 (June 1, 2022): 45–55. http://dx.doi.org/10.4000/critiquedart.91738.

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23

Robinson, Jason C. "Artistic Truth." Symposium 10, no. 2 (2006): 611–24. http://dx.doi.org/10.5840/symposium200610236.

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24

Bindman, Lynn. "Artistic merit." Physiology News, Autumn 2016 (September 1, 2016): 8. http://dx.doi.org/10.36866/pn.104.8.

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25

Whitley, Antonia. "Artistic Soldiers." RUSI Journal 159, no. 3 (May 4, 2014): 90–93. http://dx.doi.org/10.1080/03071847.2014.928028.

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26

Wood, Hugh, Jelena Hahl-Koch, John C. Crawford, Arnold Schoenberg, and Wassily Kandinsky. "Artistic Correspondence." Musical Times 126, no. 1704 (February 1985): 94. http://dx.doi.org/10.2307/963472.

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27

Charap, John. "Artistic foresight." Physics World 13, no. 8 (August 2000): 21–22. http://dx.doi.org/10.1088/2058-7058/13/8/24.

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28

Gera, Judit. "Artistic Parallels." Dutch Crossing 22, no. 1 (June 1998): 127–38. http://dx.doi.org/10.1080/03096564.1998.11784089.

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29

Falk, Dan. "Artistic influences." Physics World 27, no. 12 (December 2014): 35–36. http://dx.doi.org/10.1088/2058-7058/27/12/39.

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30

Chen, Katherine K. "Artistic Prosumption." American Behavioral Scientist 56, no. 4 (December 12, 2011): 570–95. http://dx.doi.org/10.1177/0002764211429362.

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&NA;. "Artistic Expressions." Emergency Medicine News 31 (October 2009): 1. http://dx.doi.org/10.1097/01.eem.0000361893.39674.13.

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32

Nemecek, Sasha. "Artistic Genes." Scientific American 273, no. 1 (July 1995): 17. http://dx.doi.org/10.1038/scientificamerican0795-17a.

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33

Felton-Dansky, Miriam. "Artistic Epidemiology." PAJ: A Journal of Performance and Art 33, no. 2 (May 2011): 115–19. http://dx.doi.org/10.1162/pajj_r_00045.

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34

III, Ivan H. Mann, and B. Bower. "Artistic License?" Science News 146, no. 3 (July 16, 1994): 35. http://dx.doi.org/10.2307/3978451.

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35

Fenner, David E. W. "Artistic Value." Journal of Value Inquiry 37, no. 4 (2003): 555–63. http://dx.doi.org/10.1023/b:inqu.0000019031.09129.1e.

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36

MILLS, CLAUDIA. "Artistic Integrity." Journal of Aesthetics and Art Criticism 76, no. 1 (February 4, 2018): 9–20. http://dx.doi.org/10.1111/jaac.12413.

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37

Bingham, Ray. "ARTISTIC LICENSE?" AJN, American Journal of Nursing 106, no. 2 (February 2006): 15. http://dx.doi.org/10.1097/00000446-200602000-00005.

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38

DenHoed, Andrea. "Artistic Differences." Dissent 64, no. 3 (2017): 11–15. http://dx.doi.org/10.1353/dss.2017.0065.

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39

Ciraulo, Dina. "Artistic Presence." Wide Angle 20, no. 1 (1998): 94–98. http://dx.doi.org/10.1353/wan.1998.0010.

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40

Shakespeare, Tom. "Artistic inheritances." Lancet 357, no. 9267 (May 2001): 1541. http://dx.doi.org/10.1016/s0140-6736(00)04655-9.

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41

Rutkin, Aviva. "Artistic evolution." New Scientist 223, no. 2979 (July 2014): 20. http://dx.doi.org/10.1016/s0262-4079(14)61435-4.

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42

Bower, James M. "Artistic Exchange." Visual Resources 9, no. 4 (January 1994): 333–34. http://dx.doi.org/10.1080/01973762.1994.9658987.

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43

Clark, Robin. "Artistic differences." Nature 434, no. 7037 (April 2005): 1071. http://dx.doi.org/10.1038/4341071a.

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44

Hamilton, Andy. "Artistic Truth." Royal Institute of Philosophy Supplement 71 (October 2012): 229–61. http://dx.doi.org/10.1017/s1358246112000185.

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45

Robinson, Andrew. "Artistic statistics." Lancet 383, no. 9920 (March 2014): 863. http://dx.doi.org/10.1016/s0140-6736(14)60433-5.

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46

HOSPERS, JOHN. "Artistic Creativity." Journal of Aesthetics and Art Criticism 43, no. 3 (March 1, 1985): 243–56. http://dx.doi.org/10.1111/1540_6245.jaac43.3.0243.

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47

Budd. "Artistic Merit." Journal of Aesthetic Education 48, no. 1 (2014): 10. http://dx.doi.org/10.5406/jaesteduc.48.1.0010.

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48

Whitten, Evelyn, and Sally Monsour. "Critical Years for Artistic Development and Artistic Thinking." Soundings (Reston, VA) 1, no. 3 (April 1988): 14–15. http://dx.doi.org/10.1177/104837138800100306.

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49

Othman, Suheir, Doaa Khalil, and Aya Al Jamal. "Mohamed Taha Hussein’s Artistic Works ( Artistic Analitic Study )." International Design Journal 9, no. 1 (January 1, 2019): 207–16. http://dx.doi.org/10.21608/idj.2019.84043.

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50

Xize, Dong, and Wang Jiaxin. "Creative activity of Chinese pianists in world culture." OOO "Zhurnal "Voprosy Istorii" 2023, no. 2-1 (February 1, 2023): 248–53. http://dx.doi.org/10.31166/voprosyistorii202302statyi09.

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The factors determining the relevance of this article are: the rapid growth of the Chinese piano school and its high artistic achievements in the last decades of the 20th - early 21st century; the presence and recognition of a significant artistic contribution (performing, pedagogical, composing) made by the outstanding pianist Liu Shikun to the development of the modern Chinese piano school; insufficient study and scientific understanding of the artist's artistic experience in the context of the formation and development of the Chinese piano school.

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