Journal articles: 'Imitation in art'

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Slisli, Fouzi. "A Metaphor to Build Empires: Imitatio and the Politics of Representation in European Humanism." International Journal of Educational Sciences and Arts 3, no. 7 (July 14, 2024): 75–101. http://dx.doi.org/10.59992/ijesa.2024.v3n7p3.

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In Western criticism and philosophy, Renaissance discussions of imitation have often been seen as both a legacy of Greece and Rome, and as the foundation of modern theories of art and literature. This investigation shows that the discussions of imitation that spread throughout the Renaissance were indeed adopted from Latin Roman discussions of poetry and rhetoric, but they have no connection to the famous Greek philosophical concepts of mimesis/imitation that are found in the work of Plato and Aristotle. Indeed, European concepts of imitatio/ imitation, as this study shows, developed their conceptual potential before Plato’s and Aristotle’s discussions of mimesis became familiar in Europe. Furthermore, Renaissance discussions of imitation were not theories of art and literature, as is commonly believed. They were simply an educational pedagogy that organized the appropriation of the canons of description of classical Latin into the vernaculars. The peculiarity and the scale of this pedagogy become evident when located within its geopolitical context. In the early modern era, neither the dead Latin language nor the vernaculars were equipped to manage the wealth or the administrative and cultural needs of ascending European states. Like Rome at the height of its power, European states were emerging empires in need of a language and a culture. And just like the Romans resorted to the imitation of Greek masterpieces in order to develop their language, Europeans advocated the imitation of Latin masterpieces to develop their vernaculars. But while the Romans resorted to imitatio often with resentment and bitterness at the impossibility to match the Greek achievement, European humanists considered imitatio to have been a resounding success [sic]. By adopting the Roman practice of imitatio, European cultures appropriated and internalized Roman ambivalence without solving or even identifying it.

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Shields, J. Scott. "The Art of Imitation." English Journal 96, no. 6 (July 1, 2007): 56–60. http://dx.doi.org/10.58680/ej20075817.

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Applying his experiences teaching photography to teaching English, high school teacher J. Scott Shields cultivates students’ original writing by promoting imitation. Students learn to develop their literary voices by crafting verse-narratives that mimic the character, plot, and stylistic devices of Dante and Chaucer.

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Isıtman, Odul. "The lord of the postmodernity: Plagiarism." Global Journal of Arts Education 8, no. 2 (May 25, 2018): 84–90. http://dx.doi.org/10.18844/gjae.v8i2.3798.

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Today's art, which is dominated by postmodernism, evolves into a completely different sense of art that reverses the system over its own weapon and changes all the known values of art. Postmodern art, which focuses on questions about what is the thing that is art, canalises itself into citations and compilations which turn into imitation, appropriation, pastiche or plagiarism. While postmodernism turns into a kind of citation and compilation aesthetics; imitation, which is at the centre of the questions related to what is the thing that is art, becomes the strategy of postmodernism. The article titled ‘The Lord of the Postmodernity: Plagiarism’ is about the transformation of an art object into an art material or the re-presentation of it in today's sense of art which extends from imitation, appropriation and pastiche to plagiarism.Keywords: Postmodernism, plagiarism, power, imitation, appropriation, art, pastiche.

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Pan, Yunpeng, Ching-An Cheng, Kamil Saigol, Keuntaek Lee, Xinyan Yan, Evangelos A. Theodorou, and Byron Boots. "Imitation learning for agile autonomous driving." International Journal of Robotics Research 39, no. 2-3 (October 14, 2019): 286–302. http://dx.doi.org/10.1177/0278364919880273.

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We present an end-to-end imitation learning system for agile, off-road autonomous driving using only low-cost on-board sensors. By imitating a model predictive controller equipped with advanced sensors, we train a deep neural network control policy to map raw, high-dimensional observations to continuous steering and throttle commands. Compared with recent approaches to similar tasks, our method requires neither state estimation nor on-the-fly planning to navigate the vehicle. Our approach relies on, and experimentally validates, recent imitation learning theory. Empirically, we show that policies trained with online imitation learning overcome well-known challenges related to covariate shift and generalize better than policies trained with batch imitation learning. Built on these insights, our autonomous driving system demonstrates successful high-speed off-road driving, matching the state-of-the-art performance.

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Pichugina, Olga K. "DEVELOPMENT OF IMITATION METHODS IN THE PAINTING PRACTICE OF THE 16th-17th CENTURY ITALIAN MASTERS." Architecton: Proceedings of Higher Education, no. 4(72) (December 28, 2020): 18. http://dx.doi.org/10.47055/1990-4126-2020-4(72)-18.

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The article explores the imitation methods in Italian Renaissance and Baroque painting, which were widespread in the forms of copying, replication, compilation and imitation. Italian art inherited the practice of imitation from the era of Antiquity and the Middle Ages. It was the basis of apprenticeship and organization of work in art studios. Model imitation and, at the same time, search for stylistic originality from the second half of the 15th century led to the spreading of replication, compilation, imitation and emulation techniques. The practice of imitation was continued by the 17th century Italian masters in the form of self-copying. Thus, the processes of imitation in the form of copying, replication, and compilation during the Renaissance and Baroque were a major component of everyday artistic practice and produced a significant impact on its theoretical comprehension and continuation at the subsequent stages of development.

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Ristic, Stefan. "Identity of the work of art." Filozofija i drustvo 21, no. 2 (2010): 293–308. http://dx.doi.org/10.2298/fid1002293r.

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The paper intends to determine the identity of the work of art in visual arts, music and literature. The discussion is of ontological nature. Particular attention is given to the problem of imitation of works of art in different arts, making a distinction between two types of imitation: fakes and forgeries. The first type is found only within the arts where the work of art is a singular physical object, i.e. with the so called autographic arts, whereas the second type can also be found in other, allographic arts, although less commonly. The problem of the imitation of works of art is closely related with the issue concerning the possibility of reducing the work of art to a formal symbolic system which would serve as a definition of the work of art. The discussion shows that a consistent analysis of the ontological status of the work of art in different art forms provides results that may seem at the first glance unintuitive and surprising.

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Strzemecka, Joanna. "Idea twórczości i figura artysty w singeries Davida Teniersa Młodszego, Antoine’a Watteau i Jeana Chardina." Artifex Novus, no. 4 (March 9, 2021): 194–205. http://dx.doi.org/10.21697/an.7931.

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Niniejszy artykuł prezentuje problematykę artystycznego naśladownictwa na przykładzie przedstawień małp jako malarzy, rzeźbiarzy i koneserów sztuki, autorstwa Davida Teniersa Młodszego, Antoine’a Watteau i Jeana Chardina. Sceny te należały do gatunku satyrycznych przedstawień funkcjonujących w języku francuskim pod nazwą singerie (fr. singe - małpa, singerie - dosł. małpiarnia), ukazujących małpy podczas parodiowania przeróżnych ludzkich czynności. Niekwestionowanym mistrzem gatunku stał się flamandzki malarz David Teniers Młodszy, który spopularyzował temat małp w rolach artystów, a za nim, prawie stulecie później, podążyli Antoine Watteau i Jean Chardin. Skłonności naśladowcze, przypisywane małpie od starożytności, zaowocowały skojarzeniem zwierzęcia z mimetyczną rolą sztuki, a dosłownym wyrazem tej analogii stała się metafora ars simia naturae (sztuka małpą natury). Singeries wymienionych twórców nie tylko nawiązują do toposu naśladowania rzeczywistości, ale i przewrotnie go przekształcają w charakterystyczny dla tego tematu, ironiczny sposób. Małpa uwikłana zostaje w toczące się od czasów renesansu spory teoretyczno-artystyczne, których omawiane przedstawienia stanowią niejako kontynuację. Za pośrednictwem zwierzęcia artyści dotykają problemu imitatio i inventio, co w przypadku Watteau i Chardina przyjęło formę sprzeciwu wobec tendencji akademickich. Te, na pozór jedynie zabawne przedstawienia, niosą ze sobą znaczenie o wiele poważniejsze – poruszają kwestie oryginalności i artystycznej tożsamości. Podobnie jak sztuka „małpowała” naturę, tak dla malarzy małpa stała się ich alter ego, dlatego w artykule zaznaczony został także kontekst autoportretu. Summary: This article presents the issue of artistic imitation on the example of monkeys that are depicted as painters, sculptors and art connoisseurs by David Teniers the Younger, Antoine Watteau and Jean Chardin. These scenes were a part of a visual art genre called singerie. The name has been given from French word singe – monkey, ape. Although the practise dates back to medieval drôlerie, their greatest popularity in European art fell in the 17th and 18th century. The depictions of monkeys imitating human behaviours were a perfect parody of human nature, not only in a moral way, but also in connection with creativeness. The Flemish painter David Teniers the Younger popularised the subject of the artist as an ape. This tradition was subsequently adopted by Antoine Watteau and Jean Chardin in France. The monkey was an important symbol of imitation. In result, this meaning of an animal was associated with the art imitating reality and the expression of this analogy was the metaphor ars simia naturae (art is an ape of nature). The singeries of the mentioned artists refer to the topos of imitating nature and have strong historical significance that continues the aesthetics discussions about the mimetic role of art. These, apparently funny depictions, carry much more serious meaning – emphasize the questions of originality and artistic identity. Like an art „apes” nature that the monkey became an alter ego of the painters.

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Gayraud, Régis. "« Toutisme » et Renaissance." Modernités Russes 12, no. 1 (2011): 213–23. http://dx.doi.org/10.3406/modru.2011.965.

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Studying the relation between the Russian avant-garde and the Renaissance leads to two questions : 1) Did Russian avant-garde artists identify with artists of the Renaissance ? 2) How did they perceive Renaissance art ? The painter Mihail Le-Dantju, the originator of Everythingness, who claimed the right to chose the forms of the future among those of the past, rewrote art history in his theoretical works in order to establish a lineage for his own concept. His rejection of “illusionism” (the laws of perspective) went beyond the usual ground of avant-garde attacks (the art of the Wanderers) to confront the Renaissance, which he presented as an indistinct whole, and accused of being contemptible imitation. As imitative of a period of Antiquity that itself only found expression in imitation, he ruthlessly rejected the Renaissance as a period of artistic decadence, in fact only large-scale academicism. Another reason for the rejection is ideological, making it possible to limit dependence on Western art, insofar as the Renaissance never happened in Russia. Since the Renaissance could not be a model, modern creators were called upon to identify with Byzantine artists. Inasmuch as these criticisms are complemented by specific formal recommendations to artists, it is legitimate to wonder whether everythingness contained the germs of academicism itself.

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Bos, Jaap, and Leendert Groenendijk. "The art of imitation: Wilhelm Stekel's Lehrjahre." International Journal of Psychoanalysis 85, no. 3 (June 2004): 713–30. http://dx.doi.org/10.1516/mk55-46p0-ltah-vf5l.

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Pappas, Sara. "Managing Imitation: Translation and Baudelaireis Art Criticism." Nineteenth Century French Studies 33, no. 3 (2005): 320–34441. http://dx.doi.org/10.1353/ncf.2005.0032.

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Yang, Fan, Alina Vereshchaka, Yufan Zhou, Changyou Chen, and Wen Dong. "Variational Adversarial Kernel Learned Imitation Learning." Proceedings of the AAAI Conference on Artificial Intelligence 34, no. 04 (April 3, 2020): 6599–606. http://dx.doi.org/10.1609/aaai.v34i04.6135.

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Imitation learning refers to the problem where an agent learns to perform a task through observing and mimicking expert demonstrations, without knowledge of the cost function. State-of-the-art imitation learning algorithms reduce imitation learning to distribution-matching problems by minimizing some distance measures. However, the distance measure may not always provide informative signals for a policy update. To this end, we propose the variational adversarial kernel learned imitation learning (VAKLIL), which measures the distance using the maximum mean discrepancy with variational kernel learning. Our method optimizes over a large cost-function space and is sample efficient and robust to overfitting. We demonstrate the performance of our algorithm through benchmarking with four state-of-the-art imitation learning algorithms over five high-dimensional control tasks, and a complex transportation control task. Experimental results indicate that our algorithm significantly outperforms related algorithms in all scenarios.

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Al.Sobh, Mahmoud A., Ameen Z. Al Khamaiseh, and Samer M. Al-Zoubi. "The Artistic Truth in Aristotle’s Criticism." European Journal of English Language and Literature Studies 10, no. 4 (March 15, 2022): 58–63. http://dx.doi.org/10.37745/ejells.2013/vol10n4pp5863.

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The present study examines Aristotle's definition of art. This examination helps in understanding the nature of art and the artistic truth it ought to carry. Aristotle believes that there is truth in art because it is not independent from the reality from which it emerges. The study advances the thesis that all arts are mimetic; therefore, they are produced by imitation. This notion has misled many thinkers by thinking that art is three times separated from the truth, as Aristotle's teacher, Plato has demonstrated in his argument on the nature of imitative arts. However, Aristotle does not repudiate this assumption, but he tries to create a natural bond between art and the reality it produces. In short, Aristotle invites his readers to enjoy the artistic truth in art by separating it from the actual one in reality.

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Zhi-hao, Sun. "Research on the New Era Aesthetic Transformation of Traditional Chinese Arts and Crafts: The Cases Focusing on Glass Art." Humanities & Language: International Journal of Linguistics, Humanities, and Education 1, no. 1 (December 31, 2023): 01–08. http://dx.doi.org/10.32734/qxkg8a66.

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Traditional craftsmanship maps out the Chinese philosophy of creation, but it has suffered during the rapid transformation of the aesthetic of industrialised, urbanised modernity. Glass art has a long history in China, but for a long time it has not been able to integrate deeply with science, but has existed as an imitation or substitute for nearby materials, so the several changes in glass art are closely linked to the entry of Western art into the Chinese art world, which is why it is defined as 'imported'. After the initial imitation of Western glass art, modern China has come to recognise the importance of its own cultural identity, which is at the heart of Eastern art's standing on the world stage and its dialogue with the world.

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Grasha, Tony. "Commentary: Imitation and the Art of Textbook Publishing." College Teaching 38, no. 1 (February 1990): 2. http://dx.doi.org/10.1080/87567555.1990.10532175.

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Van Puymbroeck, Birgit. "Among the Decadents: Nancy Cunard's Art of Imitation." Modernism/modernity 30, no. 3 (September 2023): 591–609. http://dx.doi.org/10.1353/mod.2023.a920258.

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Abstract: This article examines Nancy Cunard's early poetry in light of ongoing debates about the relationship between modernism and decadence. Rather than positioning Cunard as a 'dilettante', 'rebel' or 'muse', it suggests that she was a poet in her own right, adopting a modernist-decadent style. Through a close reading of her early poetry, published in the collections Outlaws and Sublunary , and her long poem Parallax , the article considers Cunard's poetry as an example of a continued decadence, showing how Cunard adopted decadent motifs and strategies in her work.

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Khlystun, Olena. "Essential features of actor's transformation." Collection of scientific works “Notes on Art Criticism”, no. 34 (January 9, 2020): 43–51. http://dx.doi.org/10.32461/2226-2180.34.2018.184773.

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The purpose of the article is to determine the main features and peculiarities of thetransformation of an actor on the stage of a creative act. The research methodology consists ofcomparative analytical approaches based on works of art history, new and already well-knownpsychotechnics for active transformation, which allows determining its common features andcharacteristics. Scientific Novelty. The main features and signs of the transformation of an actor onthe stage of a creative act are investigated and identified. The research results can be used forfurther scientific research of various aspects of acting and stage art. The main defining aspects anddirections of transformation can be applied by participants directly in creative work and byteachers in the process of preparing actors. Actual features and signs of transformation give aserious impetus to rethink the creative activity of the actor in his artistic action. Conclusions.Analysis of the features of the transformation of an actor in the stage creative process givesgrounds to assert that two signs are clearly reflected in the act of transformation. The actor, first ofall, experiences and feels that he plays the leading role. At the same time, this act also containsimitation or imitation of the external signs of the characters and his actions. The actor is clearlyaware of and controlling what happens to his inner state in the main role. However, until today theway of reincarnation remains controversial from external imitation to internal state, or vice versa.Key words: actor's transformation, imitation, actor, creative act, stage emotions.

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Turlyun, L. N. "COMPUTER GRAPHICS AS A FORM OF COMPUTER VISUAL ART." Arts education and science 2, no. 31 (2022): 122–27. http://dx.doi.org/10.36871/hon.202202016.

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The article is devoted to computer graphics as the main type of computer visual art. It gives a historical review of the origin of computer graphics. The first artists in computer graphics are: Ben Laposki, Herbert Franke, Michael Noll, Friederich Nake, Charles Xuri, Harold Cohen. The concepts of pencil, charcoal, computer graphics, computer art, engraving, etching, linocut are covered. A comparative analysis of traditional graphic art and computer graphics is conducted. The article provides a brief historical overview of graphite, Italian and lead pencils and focuses on the imitation of traditional graphic tools in graphic editors. It is emphasized that hatchings modelling plays a special role in imitation of pencil drawing technique by means of computer graphics, as well as in traditional drawing. The shading modelling methods developed by software artists Cortez, Yamamoto, Herzmann, Litvinovich, Shiraishi, and Yamaguchi are described. The popularity of engravings in illustrating books and periodicals is noted. A classification of printed graphics by type and production technique is carried out. The article provides an overview of the main imitation filters for all types of engraving. In particular, such filters as "Engraver", "Cutline" Linocut are considered.

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Younes, Mohamed, Ewa Kijak, Richard Kulpa, Simon Malinowski, and Franck Multon. "MAAIP." Proceedings of the ACM on Computer Graphics and Interactive Techniques 6, no. 3 (August 16, 2023): 1–20. http://dx.doi.org/10.1145/3606926.

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Simulating realistic interaction and motions for physics-based characters is of great interest for interactive applications, and automatic secondary character animation in the movie and video game industries. Recent works in reinforcement learning have proposed impressive results for single character simulation, especially the ones that use imitation learning based techniques. However, imitating multiple characters interactions and motions requires to also model their interactions. In this paper, we propose a novel Multi-Agent Generative Adversarial Imitation Learning based approach that generalizes the idea of motion imitation for one character to deal with both the interaction and the motions of the multiple physics-based characters. Two unstructured datasets are given as inputs: 1) a single-actor dataset containing motions of a single actor performing a set of motions linked to a specific application, and 2) an interaction dataset containing a few examples of interactions between multiple actors. Based on these datasets, our system trains control policies allowing each character to imitate the interactive skills associated with each actor, while preserving the intrinsic style. This approach has been tested on two different fighting styles, boxing and full-body martial art, to demonstrate the ability of the method to imitate different styles.

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Wiyono, Handi. "Imitation On The Jaranan Buto Banyuwangi Musical Presentation Structure." Jurnal Seni Musik 10, no. 1 (June 30, 2021): 11–16. http://dx.doi.org/10.15294/jsm.v10i1.46424.

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Jaranan Buto is one of the arts that live in Banyuwangi in addition to other arts. As a performing art, in every presentation Jaranan Buto uses accompanying music. At the beginning of its creation, the musical accompaniment of Jaranan Buto consisted of several instruments and pieces. Over time, the musical accompaniment of Jaranan Buto has experienced developments so as to form a structure for presenting the musical accompaniment of Jaranan Buto which is now commonly used. This study discusses the structure of the musical accompaniment of Jaranan Buto and its various imitations. This study used a descriptive qualitative approach by interviewing Setro Asnawi (80 years) as the creator of Jaranan Buto and Mariyono (55 years) as the second generation of Jaranan Buto Sekar Diyu dancers who were still active until this research was written. Analysis of research data starts from domain analysis, observation focused on the accompaniment of Jaranan Buto from the beginning of the stage, trance to exiting the stage, taxonomic analysis, selected observations to the final stage, namely component analysis. From these results it can be concluded that the elements of musical imitation in the accompaniment of Jaranan Buto consist of imitation of musical instruments and imitation of pieces performed from other arts.

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Ruan, Jie. "Brief Analysis on Colorful Musical Visual Imaginary Space." Learning & Education 10, no. 5 (March 13, 2022): 137. http://dx.doi.org/10.18282/l-e.v10i5.2706.

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By means of musical language, in the space of imitation, modeling, movement, symbol and suggestion, the art of music demonstrates the synesthesia between auditory art and visual art and presents the basic features, development prospects and space of music aesthetics.

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Mansoor, Jaleh. "The Medium is the Data Set: Art and AI." Media-N 19, no. 1 (February 3, 2023): 146–52. http://dx.doi.org/10.21900/j.median.v19i1.1174.

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Cameron, Rebecca. "Sunny Stalter-Pace. Imitation Artist: Gertrude Hoffmann’s Life in Vaudeville and Dance." Modern Drama 64, no. 3 (August 1, 2021): 390–92. http://dx.doi.org/10.3138/md.64.3.br8.

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Imitation Artist is a well-researched biography of a path-breaking performer, choreographer, and producer who elevated imitation to an art form. Stalter-Pace draws valuable connections between Hoffman’s career and popular American theatre and dance from the 1890s to the 1930s, with emphasis on the popularization of European modernism for American vaudeville audiences.

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Tarasova, Natalia, Sergey Kibalnik, Boris Tikhomirov, and Vladimir Zakharov. "K. Barsht's Works on Dostoevsky: Imitation of Research." Неизвестный Достоевский 8, no. 4 (December 2021): 177–231. http://dx.doi.org/10.15393/j10.art.2021.5841.

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In the article, Konstantin A. Barsht’s publications devoted to the study of Fyodor Dostoevsky’s creativity are subjected to a critical analysis: 1) works on the drawings and calligraphy of the writer; 2) a commented edition of Dostoevsky’s novel “Poor Folk” for “Literary Monuments” series; 3) publications about the manuscripts of the novel “Demons”, including the publication of Dostoevsky’s workbooks with draft notes for this novel (2021); 4) Barsht’s articles from the collection “Dostoevsky: Еtymology of Narration” (2019). The analysis of these publications reveals Barsht’s unprofessionalism as a researcher, as well as his violation of scientific ethics. The authors of the article proceed from the idea that this kind of imitation of research is unacceptable, publications should undergo a qualified examination and receive expert evaluation.

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Wu, Yi. "Mimesis as Poiesis: The Production and Reproduction of Likeness in an Extra-Moral Sense." Journal of Speculative Philosophy 36, no. 3 (August 1, 2022): 378–98. http://dx.doi.org/10.5325/jspecphil.36.3.0378.

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ABSTRACT Artworks of realism have been the chief target continuously employed by critics to perpetuate a traditional view of art as mere imitation. In this article, I argue for a way to understand artworks of realism based on a suspension of the classical distinction between mimesis (understood as imitation) and poiesis (understood as making, fabrication or production). By examining the perception model (the case of the trompe-l’œil of fifth-century Greek and Renaissance European paintings) and the poiesis of mechanically reproduced art (the case of the photograph), I argue that (1) contrary to the traditional view, an artwork of realism does not represent what is ordinarily called “reality” by imitating it; (2) in what may seem a representation of the world an artwork of realism actually creates something from scratch, making neither an ontological claim to become and to replace the object in question nor an artistic claim to copy after the object; and (3) despite its apparent achievement of resembling the objects in the world, an artwork of realism should be judged by itself as well as by itself as embodiment of conditions of seeing and of encountering, inhabiting, and interpreting the visible at a certain historical juncture.

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Zhao, Zelin, Chuang Gan, Jiajun Wu, Xiaoxiao Guo, and Joshua B. Tenenbaum. "Augmenting Policy Learning with Routines Discovered from a Single Demonstration." Proceedings of the AAAI Conference on Artificial Intelligence 35, no. 12 (May 18, 2021): 11024–32. http://dx.doi.org/10.1609/aaai.v35i12.17316.

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Humans can abstract prior knowledge from very little data and use it to boost skill learning. In this paper, we propose routine-augmented policy learning (RAPL), which discovers routines composed of primitive actions from a single demonstration and uses discovered routines to augment policy learning. To discover routines from the demonstration, we first abstract routine candidates by identifying grammar over the demonstrated action trajectory. Then, the best routines measured by length and frequency are selected to form a routine library. We propose to learn policy simultaneously at primitive-level and routine-level with discovered routines, leveraging the temporal structure of routines. Our approach enables imitating expert behavior at multiple temporal scales for imitation learning and promotes reinforcement learning exploration. Extensive experiments on Atari games demonstrate that RAPL improves the state-of-the-art imitation learning method SQIL and reinforcement learning method A2C. Further, we show that discovered routines can generalize to unseen levels and difficulties on the CoinRun benchmark.

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Gross, Eduard-Claudiu. "Artificial Intelligence Generated Art Imitation and the Art World: Implications and Further Questions." Boletín de Arte, no. 44 (November 28, 2023): 313–16. http://dx.doi.org/10.24310/ba.44.2023.15972.

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Mishchenko, Iryna. "Gennady Gorbaty's painting: crypto-realism as overcoming imitation of reality." Almanac "Culture and Contemporaneity", no. 1 (August 31, 2021): 176–80. http://dx.doi.org/10.32461/2226-0285.1.2021.238616.

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The purpose of this article: analysis of Gennady Gorbaty's painting, in the work of which the transition from a realistic reflection of the world to the art of postmodernism, characteristic of Ukrainian art of the late 20th century, was reflected in a peculiar way. The methodology is the application of art analysis, methods of comparison and generalization, biographical and historical approach. The scientific novelty lies in the discovery of the peculiarities of the transformation of the traditional for Soviet art reflection of reality into visual practices of the late 20th – early 21st centuries on the example of the work of a particular artist. Conclusions. Gennady Gorbaty studied at the Kyiv State Art Institute (1981–1987), so his formation was significantly influenced by the traditional school of painting with a mostly realistic reproduction of the world around it and a purely academic hierarchy of genres. The socio-political situation in Ukraine in the late 1980s and early 1990s not only contributed to the liberation from such a view of art, but also intensified attention to the development of both contemporary world art and modernist manifestations that existed in the culture of the first half of the 20th century. At the same time, many artists became interested in the history of Ukraine, especially in its tragic or dramatic pages, which led to the emergence of numerous compositions with a complex system of symbols and associations, elements borrowed from the paintings of past eras. In the work of Gennady Gorbaty can be consistently traced a variety of influences, which demonstrate his search for his own plastic language, the gradual departure from the conditionally realistic art of the Soviet era and the formation of a peculiar manner of performance. This was facilitated by an acquaintance with Western European art of the late 20th century, as the artist has been working in Germany since the early 1990s. It was one of the German art critics G. Beck who defined the stylistics of G. Gorbaty's works as crypto-realism, in which the emotional beginning, reflected in the color scheme and expression of picturesque textures, is combined with supposedly hidden motives of visible reality. In the works of this author, the blurring of genres, the synthesis in one picture of elements of different artistic epochs – from the Middle Ages to postmodernism – is also noticeable.

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GREGOR, BRIAN. "THINKING THROUGH KIERKEGAARD'S ANTI-CLIMACUS: ART, IMAGINATION, AND IMITATION." Heythrop Journal 50, no. 3 (May 2009): 448–65. http://dx.doi.org/10.1111/j.1468-2265.2008.00409.x.

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McCrary, Susan Niehoff. "The Art of Imitation in Lope's El bastardo Mudarra." Bulletin of the Comediantes 39, no. 1 (1987): 85–97. http://dx.doi.org/10.1353/boc.1987.0019.

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Dai, Tianhong, Hengyan Liu, and Anil Anthony Bharath. "Episodic Self-Imitation Learning with Hindsight." Electronics 9, no. 10 (October 21, 2020): 1742. http://dx.doi.org/10.3390/electronics9101742.

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Episodic self-imitation learning, a novel self-imitation algorithm with a trajectory selection module and an adaptive loss function, is proposed to speed up reinforcement learning. Compared to the original self-imitation learning algorithm, which samples good state–action pairs from the experience replay buffer, our agent leverages entire episodes with hindsight to aid self-imitation learning. A selection module is introduced to filter uninformative samples from each episode of the update. The proposed method overcomes the limitations of the standard self-imitation learning algorithm, a transitions-based method which performs poorly in handling continuous control environments with sparse rewards. From the experiments, episodic self-imitation learning is shown to perform better than baseline on-policy algorithms, achieving comparable performance to state-of-the-art off-policy algorithms in several simulated robot control tasks. The trajectory selection module is shown to prevent the agent learning undesirable hindsight experiences. With the capability of solving sparse reward problems in continuous control settings, episodic self-imitation learning has the potential to be applied to real-world problems that have continuous action spaces, such as robot guidance and manipulation.

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Zucchetti, Nicholas. "An unexplained overlap between Sophist 232b1-236d4 and Republic X." Revista Archai, no. 30 (May 10, 2020): e03014. http://dx.doi.org/10.14195/1984-249x_30_14.

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Although most scholars agree that the lexicon of Sophist 232b1-236d4 is similar to that of Republic X, they leave undetermined whether they are theoretically compatible. Notably, both dialogues elucidate the art of imitation through the metaphor of the painter who deceives his pupils through φαντάσματα. I argue that Plato’s conception of imitation of the Republic is not only consistent with that presented in the Sophist, but also importantly integrates it.

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Choudhury, Sanjiban, Mohak Bhardwaj, Sankalp Arora, Ashish Kapoor, Gireeja Ranade, Sebastian Scherer, and Debadeepta Dey. "Data-driven planning via imitation learning." International Journal of Robotics Research 37, no. 13-14 (July 12, 2018): 1632–72. http://dx.doi.org/10.1177/0278364918781001.

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Robot planning is the process of selecting a sequence of actions that optimize for a task=specific objective. For instance, the objective for a navigation task would be to find collision-free paths, whereas the objective for an exploration task would be to map unknown areas. The optimal solutions to such tasks are heavily influenced by the implicit structure in the environment, i.e. the configuration of objects in the world. State-of-the-art planning approaches, however, do not exploit this structure, thereby expending valuable effort searching the action space instead of focusing on potentially good actions. In this paper, we address the problem of enabling planners to adapt their search strategies by inferring such good actions in an efficient manner using only the information uncovered by the search up until that time. We formulate this as a problem of sequential decision making under uncertainty where at a given iteration a planning policy must map the state of the search to a planning action. Unfortunately, the training process for such partial-information-based policies is slow to converge and susceptible to poor local minima. Our key insight is that if we could fully observe the underlying world map, we would easily be able to disambiguate between good and bad actions. We hence present a novel data-driven imitation learning framework to efficiently train planning policies by imitating a clairvoyant oracle: an oracle that at train time has full knowledge about the world map and can compute optimal decisions. We leverage the fact that for planning problems, such oracles can be efficiently computed and derive performance guarantees for the learnt policy. We examine two important domains that rely on partial-information-based policies: informative path planning and search-based motion planning. We validate the approach on a spectrum of environments for both problem domains, including experiments on a real UAV, and show that the learnt policy consistently outperforms state-of-the-art algorithms. Our framework is able to train policies that achieve up to [Formula: see text] more reward than state-of-the art information-gathering heuristics and a [Formula: see text] speedup as compared with A* on search-based planning problems. Our approach paves the way forward for applying data-driven techniques to other such problem domains under the umbrella of robot planning.

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Heyes, Cecilia. "Evolution, development and intentional control of imitation." Philosophical Transactions of the Royal Society B: Biological Sciences 364, no. 1528 (August 27, 2009): 2293–98. http://dx.doi.org/10.1098/rstb.2009.0049.

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Imitation is at the heart of social cognitive neuroscience. It is a neurocognitive process that bridges the gap between minds; powers cognitive and social development; promotes cooperation and well-being; and provides a channel of cultural inheritance. The papers in this theme issue review cutting-edge research on imitation and report original data using all of the principal methodologies, including comparative, developmental, cognitive-behavioural and neurological techniques. This paper introduces these interdisciplinary contributions and, proposing that the field currently has four inter-related foci—correspondence, control, cooperation and cultural inheritance—offers an overview of the state-of-the-art in research on the mechanisms and functions of imitation.

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Yebra Pertusa, José María. "Retro-Victorianism and the simulacrum of art in Will Self's Dorian: An imitation." Revista Alicantina de Estudios Ingleses, no. 23 (December 15, 2010): 231. http://dx.doi.org/10.14198/raei.2010.23.13.

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This essay aims at exploring Will Self’s novel Dorian: An Imitation (2002) as a postmodernist revision of Oscar Wilde’s celebrated The Picture of Dorian Gray (1891). Exceptional for ones, immoral and shameful for others, Dorian: An Imitation fosters an intertextual relation with the late-Victorian hypotext whereby both texts are transformed out of a refractory process. Like its predecessor, Self’s novel is primarily interested in aesthetic issues. In this light, my main concern consists in analysing the artistic discourses that Dorian: An Imitation reflects and deflects in the era of simulation. Likewise, I examine how the novel delves into the problematic relationship between “reality” and “fiction”, original and simulacra. At the turn of the millennium, when virtual reality/ies are generated by computers, literature has a challenge which, in my view, Self’s novel deals with. Thus, from the theories of simulation proposed by Jean Baudrillard and, to a lesser extent, Gilles Deleuze, my essay confronts Dorian as a valuable text: it adapts the discourse of new technologies to literary language; it goes into the postmodernist ontological crisis; and, finally, it opens up the debate of aesthetic interaction between the canon and new literatures.

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Gailhac, Quentin. "Imitation and Expression. Inauthenticity in music according to Giacinto Scelsi." Aisthesis. Pratiche, linguaggi e saperi dell’estetico 16, no. 2 (February 6, 2024): 99–107. http://dx.doi.org/10.36253/aisthesis-14296.

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This article focuses on the consequences of a little-known work by Giacinto Scelsi, Rotativa (1930), for the concepts of imitation and expression in music. Critical of the mechanization of art peculiar to the Futurism of his time, the Italian composer allows us to think, against the pseudo-photographic reproduction of objects by sound forms, the limits of musical imitation by revealing, from the historicity of his own piece, the inauthenticity of a certain modernism.

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Pichkur, M. "Digital still life painting: art production, composition, imitation and stylization." Art and education, no. 4 (2020): 42–49. http://dx.doi.org/10.32405/2308-8885-2020-4(98)-42-49.

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Kirchanov, Maksym. "Imitation and americanization of christian cultural discourse in mormon art." St.Tikhons' University Review. Series V. Christian Art 41 (March 31, 2021): 76–95. http://dx.doi.org/10.15382/sturv202141.76-95.

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Bordo, Jonathan. "History Lessons: Imitation, Work and the Temporality of Contemporary Art." Art History 37, no. 4 (August 14, 2014): 806–25. http://dx.doi.org/10.1111/1467-8365.12116.

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Tarasenko, M. "SHABTIS IN THE COLLECTION OF THE MUSEUM OF ORIENTAL ART IN ZOLOCHIV CASTLE." Bulletin of Taras Shevchenko National University of Kyiv. History, no. 136 (2018): 74–82. http://dx.doi.org/10.17721/1728-2640.2018.136.1.16.

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A group of six shabtis from the collection of the Museum of Oriental Art in Zolochiv Castle, Lviv region, Ukraine are published and analysed in the paper. 1. Green glazed shabti of Psamtek, Late Period, inv. no. 5879. 2. Sky blue glazed faience shabti of Pa-di-Amun, 21st Dynasty, inv. no. 5890. 3. “Female” brown terracotta pseudo-shabti, Roman Period or modern imitation, inv. no. C-I-284. 4. “Female” brown terracotta pseudo-shabti, Roman Period or modern imitation, inv. no. C-I-2286. 5. Small blue glazed faience shabti without inscriptions inv. no. ЕP 7117. 6. Small brown terracotta shabti without inscriptions inv. no. ЕP 5888. At least five of them came from the private collections of the 19th century (Lubomirski, Pininski).

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Wang, Bingzheng, Guoqiang Wu, Teng Pang, Yan Zhang, and Yilong Yin. "DiffAIL: Diffusion Adversarial Imitation Learning." Proceedings of the AAAI Conference on Artificial Intelligence 38, no. 14 (March 24, 2024): 15447–55. http://dx.doi.org/10.1609/aaai.v38i14.29470.

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Imitation learning aims to solve the problem of defining reward functions in real-world decision-making tasks. The current popular approach is the Adversarial Imitation Learning (AIL) framework, which matches expert state-action occupancy measures to obtain a surrogate reward for forward reinforcement learning. However, the traditional discriminator is a simple binary classifier and doesn't learn an accurate distribution, which may result in failing to identify expert-level state-action pairs induced by the policy interacting with the environment. To address this issue, we propose a method named diffusion adversarial imitation learning (DiffAIL), which introduces the diffusion model into the AIL framework. Specifically, DiffAIL models the state-action pairs as unconditional diffusion models and uses diffusion loss as part of the discriminator's learning objective, which enables the discriminator to capture better expert demonstrations and improve generalization. Experimentally, the results show that our method achieves state-of-the-art performance and significantly surpasses expert demonstration on two benchmark tasks, including the standard state-action setting and state-only settings.

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Gregory (book editor), Sharon, Sally Anne Hickson (book editor), and Carolina Mangone (review author). "Inganno — The Art of Deception: Imitation, Reception, and Deceit in Early Modern Art." Renaissance and Reformation 36, no. 3 (December 2, 2013): 166–69. http://dx.doi.org/10.33137/rr.v36i3.20556.

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HILAIRE-PÉREZ, LILIANE. "Diderot's views on artists' and inventors' rights: invention, imitation and reputation." British Journal for the History of Science 35, no. 2 (June 2002): 129–50. http://dx.doi.org/10.1017/s0007087402004648.

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This paper considers inventors' rights as revealing shifts in the elaboration of public trust in inventions. The two main issues, the method of invention and the credit invested, are analysed both in terms of Diderot's writings and in the economic, social and political context of invention during the eighteenth century. In a pamphlet written in 1755, Histoire et secret de la peinture en cire, Diderot criticized the Count of Caylus's attempt to keep the invention of wax painting secret and to enhance his fame thanks to this technical achievement. Diderot developed a conception of invention as an activity based upon methodical rediscoveries, imitations and translations. Although this could also concern artistic practice, imitation in art had a quite different meaning for Diderot. The main issue was the status of artists and inventors in society. Personal glory and private appropriation were denied to inventors, in contrast to artists. Secrecy, pride and exclusivity in invention were mean and ridiculous strategies. This was precisely what had been happening since the beginning of the eighteenth century, with the development of a market for inventions and exclusive titles, which also affected art. Diderot's narrative of invention as a daily, collective and historical process echoed the necessity of reassessing the value of invention by the criteria of public utility and shared evaluation.

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Li, Dan, and Yi Nong Yan. "Design of Dig-Art Imitating Batik Pattern." Advanced Materials Research 214 (February 2011): 260–64. http://dx.doi.org/10.4028/www.scientific.net/amr.214.260.

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To resolve high expense and time-consuming of cashmere fabrics printing about the traditional batik, this paper summarizes existing batik patterns and analyzes the general batik styles and features and in accordance with the above styles to design the imitation of batik pattern in digital designing art in order to achieve a immediate printing result on the cashmere fabrics. While increasing cashmere fabrics printing pattern, the paper aims at offering some reference and gist for research on cashmere fabrics digital printing and design through analysis of the imitated batik patterns.

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Chu, Lele, and Lingxi Zhou. "Practical Research on Tao Xingzhi's Educational Thought of "Integration of Teaching and Doing" in Art Teaching — Taking Flower Carpet as an Example." Arts Studies and Criticism 5, no. 1 (April 24, 2024): 17. http://dx.doi.org/10.32629/asc.v5i1.1857.

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Art activities include imitation and creation. Tao Xingzhi's thought of the unity of art teaching and practice provides theoretical guidance and practical significance for the imitation and creation of basic art education. In art activities, the opening of aesthetic mind and the practice of art technology are indispensable. It can be said that the edification of aesthetic mind is full of all aspects of life. Paying attention to the sublimation of aesthetic soul is very difficult for the late art education in China. Mr. Tao Xingzhi, a famous educator in China, has the idea of teaching doing in one, which is helpful and enlightening. At present, it has been widely used in many art classes in China. Compared with many novel foreign teaching ideas, our domestic idea of teaching doing in one seems to be more suitable for the local education situation. Abandon the old teaching ideas, pay more attention to let students gain more practical ability in the classroom, let students become the main body in the classroom, and teachers play a more guiding role in diversified embodiment and deeper excavation of theoretical knowledge. Teachers teach while doing and students learn by doing. This new teaching method is more in line with China's educational policy of paying attention to quality education. It is also conducive to cultivating students' creativity and protecting their personality development in thinking, so as to cultivate more excellent talents with all-round development.

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Herbertson, Gavin. "‘Our Creole Painter’: Derek Walcott's Early Intermediality." Comparative Critical Studies 21, no. 1 (February 2024): 7–27. http://dx.doi.org/10.3366/ccs.2024.0502.

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This article probes the complex interrelationship between Derek Walcott's poetry, Paul Gauguin's art, and Ernest Hemingway's prose. Following an overview of cutting-edge research into postcolonial artistic intermediality, it argues that Walcott admired Gauguin's depictions of Caribbean landscapes, but that this admiration was tempered by his awareness of the artist's racism. Having established the broad strokes of their relationship, the article hones in on the influence Gauguin exerted on Walcott's early lyric ‘Letter to a Painter in England’ (1948). Through close reading, it outlines the role Gauguin's synthetism played in shaping the work's aesthetic, especially with regard to its nonmimetic use of colour, and contends that Walcott's early imitation of Gauguin was inspired by Ernest Hemingway's intermedial imitations of Cézanne. However, unlike Hemingway, Walcott sought to ‘re-vision’ his model through visual-verbal translation.

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Bolland, Andrea. "Art and Humanism in Early Renaissance Padua: Cennini, Vergerio and Petrarch on Imitation*." Renaissance Quarterly 49, no. 3 (1996): 469–87. http://dx.doi.org/10.2307/2863363.

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A number of passages in Cennino Cennini's early fifteenth-century craft handbook, the Libro dell'Arte, have captured the attentionof art historians — most particularly its spectacular first chapter, which defines painting in terms indebted to late medieval poetics and which praises artistic imagination in terms ultimately derived (though significantly transformed) from Horace's Ars poetica. I would like to focus critical attention on another section of the Libro that is equally rich and complex in both its sources and its transformations — Cennini's treatment of imitation and style, articulated most pointedly in chapter 27, “How to Strive to Copy and Draw from as Few Mastersas Possible.” Cennini's discussion of copying masters will be examined in relation to humanist ideas on literary imitation, and this particular aspect of the relation between painting and poetry in theLibrowill be explored in light of the author's residency in Padua during the last years of the Trecento.

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Mastipanova, A. V. "SOME APPLIED TASKS OF THE GEOMETRICAL DRAWING IN THE ACCORATIVE ART." Educational Dimension 10 (May 27, 2022): 165–71. http://dx.doi.org/10.31812/educdim.5798.

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An author offers a postulate about possibility of imitation of arbitrary smooth curve by a line with the tsyrkuVnymy interfaces. The method of construction of decorative compositions having in the composition lines with the tsyrkulnymy interfaces is developed, which passed out the test on the artistically-graphic faculty of the Kryvorozhskogo state pedagogical university.

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Nikolova, Oleksandra, and Kateryna Vasylyna. "Motifs of Disguise/ Imitation in European Literary Tradition (From Antiquity to the Eighteenth Century):." University of Bucharest Review Literary and Cultural Studies Series 13, no. 1 (October 20, 2023): 29–39. http://dx.doi.org/10.31178/ubr.13.1.3.

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The article defines and examines the connection between the disguise/imitation motifs and the categories of comic and tragic within European literary tradition (from Antiquity to the Eighteenth century). The authors of this research explain the factors that make these motifs popular means of creating comic effect or tragic pathos and highlight the trends in their functioning. Disguise/imitation motifs are shown to be mostly related to situations that violate the usual norms of conformity, hierarchical relations, behavioural canons, and for this precise reason, they have a powerful affective potential, i.e. become capable of evoking strong emotions. The disguise/imitation motifs are appropriate for comic effect due to their archaic genetic links with ritual-laughter culture and their conformity to the very nature of the comic, which is based on contradictions. Tragic pathos arises as a result of tragic consequences of one’s identity loss within disguise/imitation situations, it prompts awareness of the injustice of society and the “cruelty” of fate, which are the cause of the forced rejection of one’s self. The article indicates the prospects of researching disguise/imitation motifs in modern art, where they are often employed in adventurous narratives to increase the plot’s dynamism, heighten dramatic tension, and intensify intrigue.

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Hoeller, Hildegard. "Art, Money, and the Gift: J.S.G. Boggs’ (Im)possible Currency." Recherches sémiotiques 30, no. 1-2-3 (July 15, 2014): 119–36. http://dx.doi.org/10.7202/1025928ar.

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This essay examines money artist J.S.G.Boggs’ work in light of gift theories by Lewis Hyde and Jacques Derrida. Reconnecting the spheres of the gift and the market, Boggs’ art explodes Hyde’s binaries and creates a solution for the dilemma of the artist in a market-driven society. Boggs’ “money” transactions also show that his money art can make possible the (im)possible gift, in Derrida’s terms, through the trappings of market-exchange. Finally, Boggs’ art, through imitation and difference, exposes the absurdities of money exchange.

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Zhao, Hengjie. "Taking “KuangLu Figure” as an Example, This Paper Discusses the Significance of the Collection of Imitation Works in the Study of Art History." Learning & Education 9, no. 2 (November 10, 2020): 25. http://dx.doi.org/10.18282/l-e.v9i2.1389.

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For a long time, “KuangLu figure” (Figure 1) has been regarded as one of Hongguzi’s representative works. In fact, the masterpiece “KuangLu figure” is not the original work of Hongguzi but a copy of later generations, but it has not affected the status of the masterpiece in the history of art. Therefore, it is necessary to discuss the importance of the imitation in the study of art history.

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Journal articles on the topic 'Imitation in art'

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