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JANG, JUNHYOK. "2022 Amendment of the Law of International Jurisdiction in Patrimonial Matters." Korea Association of the Law of Civil Procedure 26, no. 3 (October 31, 2022): 103–232. http://dx.doi.org/10.30639/cp.2022.10.26.3.103.
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In creating the new rules on international jurisdiction created in 2022, the drafters put an emphasis and focus on patrimonial matters. This led to an effort to provide for detailed and sophisticated rules as far as practicable. The legislative model was found in the 1999 Hague Preliminary Draft and the 2005 Hague Choice of Court Convention. So the new rules follow the continental European style of legislation. Concise provisions without detailed clarification were preferred.
Naturally, the drafters sought to strictly limit each basis of jurisdiction, so as to stay away from exorbitant jurisdiction. Particularly notable is the broad limitation imposed on the place-of-performance jurisdiction for contract cases (Art. 41). A strict limitation was also introduced on the jurisdiction over related claims when they are filed against different defendants (Art. 6(2)).
However, legislative clarification was not made throughout the amendment. In some places, the drafters minimized the breadth of legislative resolution and chose to defer difficult issues to interpretation. The prime example would be the criteria for establishing a habitual residence. Further limitation to tort jurisdiction at the place of harm, other than the condition of predictability, is also left to the academia and the courts. Establishing the rules of jurisdiction for internal matters of a trust was wholly left as a future task. Notwithstanding this legislative vacuum, the settlor should be allowed make a unilateral choice of forum, although this will be a point of debate.
In some heads of jurisdiction, the drafters chose to expand the available grounds of jurisdiction, rather than trying to limit them. Justification was found in the realistic considerations and being an autonomous legislation. In this connection, particular attention was paid to the rules of internal jurisdiction provided in the Civil Procedure Act and the rules of international jurisdiction provided in the Japanese Civil Procedure Act as amended in 2011. Special jurisdiction at the place of “continuous and systematic activity” was newly introduced (Art. 4, para. 2); jurisdiction over related claims between the same parties was also preserved (Art. 6, para. 1); the bases of jurisdiction over counterclaims were even expanded, so that a connection with the defense will generally suffice (Art. 7); forum patrimonii as restricted by the “substantial connection” test was also preserved, taking into account the convenience of enforcement (Art. 5 ii); the place-of-performance jurisdiction was broadly preserved in the case characteristic performance is clearly defined (Art. 41, para. 1); contract jurisdiction is to be upheld without limitation at the place of performance (Art. 41, para. 2); no particular limitation is imposed on the contractual agreement over the place of delivery (Art. 41, para. 2), leaving open the possibility of allowing a fictitious agreement to some degree. The new law also sought to provide for sufficiently wide-ranging set of jurisdictional bases for special jurisdiction for contracts in intellectual property (Art. 38) and that for infringement of intellectual property (Art. 39).
Forum patrimonii as limited by the substantial connect test (Art. 5 ii) and the forum non conveniens provision (Art. 12) deserve special attention, in that they leave a large room of discretion to judges. The two provisions has a potential to function positively by introducing flexibility. Meanwhile, they may end up hindering the interpretive development of sophisticated standards and greater uncertainty.
Forum patrimonii, even functioning under the constraint of the “substantial connection” test, should only remain a final resort and play its proper function. An excessive use of this basis will cause stagnation of the further development of the Korean law of international jurisdiction, and will practically cause difficulty in having Korean judgments recognized and enforced abroad
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Nofansyah and Redyanto Noor. "Analysis of The Concept and Attraction and The Development od Tge "Langen Mandra Wanara" Art from Yogyakarta." E3S Web of Conferences 317 (2021): 01007. http://dx.doi.org/10.1051/e3sconf/202131701007.
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Langen Mandra Wanara is a Javanese dance-drama genre that tells Ramayana story taking place in the Kepatihan complex. It has become a very popular performing art and has been widely studied by the people of Yogyakarta. This study aimed to discuss the concept, attractiveness and development of the "Langen Mandra Wanara" art. The study used a descriptive analysis method. In this research, the data was the art of Langen Mandra Wanara from Yogyakarta, which was obtained from various secondary sources, including previous research journals, internet sites, books and documentation. The results showed that Langen Mandra Wanara has a basic concept called the Joged Mataram philosophy in dancing. At the beginning of its development, the art performance was marked by the appearance of a large number of wanara (monkey) dancers. Unlike other arts, Langen Mandra Wanara basically aims to provide entertainment to the public for free. In its development, Langen Mandra Wanara's performance declined due to the influence of the Dutch colonial economic situation. Currently, Langen Mandra Wanara shows tend to be concise, performed much shorter, and involve fewer players. Thus, the production cost of court performing arts can be reduced much cheaper than before.
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Parry-Davies, Ella, and Eliesh S.D. "Siting Performance Philosophy: Positions, Encounters and Reflections at Beirut: Bodies in Public." Performance Philosophy 1, no. 1 (April 10, 2015): 255. http://dx.doi.org/10.21476/pp.2015.1116.
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Beirut: Bodies in Public was a three-day workshop that took place in Beirut, Lebanon from 9-11 October 2014, supported by a Performance Philosophy grant for interim conference events. The workshop integrated academic research with performances, movement workshops, film, and site-specific responses to the city, and welcomed disciplinary perspectives from a broad range of fields. In this article, the convenors Ella Parry-Davies and Eliesh S.D. reflect on the central issues and encounters foregrounded by the event, and the disciplinary or methodological implications of the project for performance philosophy. Taking as its central provocation the controversial statement: “Art in public spaces doesn’t exist anymore”, the workshop sought to address the role of embodied practice in Beirut’s precarious public sites. Insofar as philosophy can be ‘performed’, it is grounded in the particularities of its social space, an utterance shaped by its historical and geopolitical locality. As a practice of performance philosophy, then, Beirut: Bodies in Public triangulated these two forms-of-knowing with a third: the interrogation presented by the site itself - its potentialities, contingencies and challenges.
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Feinstein, Sandy. "The “Living Art” in The Honorable History of Friar Bacon and Friar Bungay." Ben Jonson Journal 23, no. 2 (November 2016): 268–89. http://dx.doi.org/10.3366/bjj.2016.0168.
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The popularity and fantastic productions of natural philosophy drive the The Honorable History of Friar Bacon and Friar Bungay. Those creating and responding to the special effects compete across boundaries of place, of cultures, and of courts. In the end, Friar Bacon's demonstrates his dominance and in so doing defines nationalist exceptionality while showcasing theatre as the ultimate alchemy displaying it. The play celebrates English performance, stage art that out-alchemies alchemy. Theatre, the play suggests, best celebrates and protects English interests. It can take on anyone and anything, including in this play, science, magic, myths, history, Oxford, kings, and emperors. The competitive contests, for that is what they become in the play, include verbal sparring and quibbles that trade on the conventional metaphors of alchemy or the “Art,” as it is often referred to in the play. The dialogic war of words is additionally supported by extravagant spectacles signifying individual skill in the Art while also confronting its limitations.
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Hancox, Donna, Sandra Gattenhof, Sasha Mackay, and Helen Klaebe. "Pivots, arts practice and potentialities: Creative engagement, community well-being and arts-led research during COVID-19 in Australia." Journal of Applied Arts & Health 13, no. 1 (March 1, 2022): 61–75. http://dx.doi.org/10.1386/jaah_00088_1.
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Pre-dating COVID-19 it was widely acknowledged that there was a loneliness epidemic and that prolonged loneliness and reduced human touch results in increased propensity to heart disease, stroke and clinical dementia. Given such statistics, and the use of isolation and shielding as a health response to the COVID-19 pandemic, it is imperative that creative projects or research investigations embed strategies to address the potential fragmentation of community and increased difficulty of social connection. This discussion examines two Australian art-based projects ‐ ‘A Place in Our Art’ and ‘Shorewell Presents … Dear Friend’ ‐ to illustrate the use of arts and cultural activities to maintain and support social connection. The article draws on arts-health and performance theory to unpack project design and outcomes of using both physical and virtual creative art-based engagement strategies in a crisis to entice continued participation and support well-being.
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Pagliai, Valentina. "Lands i came to sing." Pragmatics. Quarterly Publication of the International Pragmatics Association (IPrA) 10, no. 1 (March 1, 2000): 125–46. http://dx.doi.org/10.1075/prag.10.1.07pag.
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This article on a genre of Tuscan Italian verbal art, the Contrasta, uses performance as a key to look at the connections between ethnic identity and place. The Contrasta takes its name, “contrast”, from its humorous representation of a verbal duel among entities, people or ideas. Structurally, it is formed by a series of chained Octets, in hendecasyllables. After an initial discussion of the current definitions of ethnic identity, the article is articulated in two parts. First, through the analysis of the “openings” of several Contrasti, 1 will show how a “repertoire” of ethnic identities becomes evident in the way the artists choose to represent themselves across contexts. These identities are connected to place. They are instead connected to towns, villages, valleys and mountains, monuments and historical events and legends. Tuscan ethnic identities emerge in the dialogue between the poets and their public. In the second part of the article, the in depth analysis of a Contrasta furnishes a key to understand how performance names and defines, but also contests, definitions of places and the associated identities. Performance brings to view the layers of complexity of ethnic identity, warning us against fixing and simplifying descriptions of it.
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LAVRENOVA, OLGA A. "CINEMA SPACES: AN IMAGINATIVE WORLD OF THE CULTURAL LANDSCAPE. REVIEW OF THE 6TH INTERNATIONAL SCIENTIFIC CONFERENCE “GEOGRAPHY OF ART”." Art and Science of Television 16, no. 3 (2020): 159–76. http://dx.doi.org/10.30628/1994-9529-2020-16.3-159-176.
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The international scientific conference “Geography of Art” is devoted to the development of a wide problematic field of interaction between art and geographic space. It traditionally considers not only spacing of artifacts and monuments over the earth’s surface, but also specific features related to the reflection of geographical space in art and creation of fantasy worlds in which the dependence on consistent patterns of the real world formation can easily be traced. The conference has been held since 2009; it was initiated by the geographer Yu.A. Vedenin and carried forward by the philosopher and culture specialist O.A. Lavrenova. In recent years, organizers of this representative forum are the Institute of Scientific Information for Social Sciences of the Russian Academy of Sciences, the Russian Academy of Arts, Film and Television School (GITR), the Russian State University for the Humanities. In 2020, for the first time the conference was held online. As always, there was discussed the role of territorial factors in formation of art schools and individual works, as well as a creative perception of the cultural landscape, the place of art in the formation of the territory image. An important topic was a concept of space in art works, the possibilities of comprehending, transforming, “reformatting” the space by different art types including screen art, creating in this way the “increment of meaning” of places and regions. Within the framework of this conference there were discussed НАУКА ТЕЛЕВИДЕНИЯ № 16.3, 2020 162 THE ART AND SCIENCE OF TELEVISION historical and cultural features of the national and world cinema, which capture real spaces and create their own modifications. Participants touched upon the topic of traveling in the cinema, virtual representations of cultural landscapes using digital narratives and, accordingly, the possibilities and specific features of the virtual travel. The issue of studying urban spaces by means of cinema was considered in a wide semantic variety—from buffoonery to marginality. A city appears as a universal scenery for a performance while real street loci with their inhabitants become heroes of modern visual media. A separate topic was the discussion of constructed spaces of Korean TV series and their adaptation in Russian culture as a tangible result of the process of intercultural communication. All the above mentioned studies represented by conference participants actually complement each other in terms of understanding the figurative component of the cultural landscape.
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Chaves, Rui, and Pedro Rebelo. "Evocative Listening: Mediated practices in everyday life." Organised Sound 17, no. 3 (January 11, 2012): 216–22. http://dx.doi.org/10.1017/s1355771811000410.
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The history of sonic arts is charged with transgressive practices that seek to expose the social, aural and cultural thresholds across various listening experiences, posing new questions in terms of the dialogue between listener and place. Recent work in sonic art exposes the need for an experiential understanding of listening that foregrounds the use of new personal technologies, environmental philosophy and the subject–object relationship. This paper aims to create a vocabulary that better contextualises recent installations and performances produced within the context of everyday life, by researchers and artists at the Sonic Arts Research Centre at Queen's University Belfast.
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Kovtoniuk, Valeriya. "A performing musician’s oeuvre through the prism of phenomenology." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 8–16. http://dx.doi.org/10.34064/khnum1-50.01.
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Background. Continuing trends dated back in the second part of XIX century music culture concentrate on a figure of performing musician. Commercialization an academic art: popularity of performance awards, media supporting for new formats of concert performance, etc. facilitates this largely. Objectives. Public interest conditioned an appearance a lot of scientific research inscribed to problems of musical interpretation. However, a performing oeuvre learning the product, fixation of which even taking to account modern recording capabilities are relative, warrants specific methods. In particular, engaging the conception of values for settlement of a question why performing art products are different with their significance: something becomes a culture phenomenon but something stays at self-actualization level. Methods. For comprehensive study the performing as separate kind of activity it is necessary to involve adjacent humanitaristics areas – psychology and philosophy, which problems of art and it’s osmosis are considered in. In particular, in philosophy art is understood as a kind of human activity aimed at creating new-look material and culture valuables. However, in our perspective more interesting and capacious definition is seem N. Berdyaev’s one: «Art is a human ability to create a new reality from valid material». That picturesque vision of the author’s work, which springs up during an interpretation, often has a wide public interest that let assign to interpretator a status of the creator. Such an understanding of performing musician’s figure significant we can find in foreign philosophers’ works (R. Ingarden, B. Croce) and native music scientists (B. Moskalenko, I. Sukhlenko). Such an understanding of performing musician’s figure significant we can find in foreign philosophers’ works (R. Ingarden, B. Croce) and native music scientists (B. Moskalenko, I. Suchlenko). Results. E. Husserl’s phenomenological conception had a great impact not only on XX th century philosophy but on many humanities science especially art history. It led to the fact that there are many definitions of phenomenon concept, which is interpreted as a reflection of world of ideas, an object that is accessible to the senses, a basic holistic unit of what can be isolated from consciousness, external properties and subject concern revealing its essence, etc. A unite part all of definitions is a sensorial perception as a base of human knowledge based on individual experience and ability of consciousness to self observation and reflection. Stickling example of this is a field of artistry, which individual sensorial perception takes such a big part in that identity of the creator, his feelings often become the centerpiece of work. In musical oeuvre, an outward subjectivization is an acoustic convergent thinking. However, musical thesaurus is enough for power of imagining wakening enabling reproducing and combination the phenomenal stored in composer-performer-hearer’s memory. Performing art based on searching the new acoustic and dramatic source material characteristics. Thereat performer’s work algorithm depends largely on personal intention based on world and mental outlook. The scale of performer identity, his internal conviction power whereby he creates the new acoustic reality is able to notably change all the elements of composer’s intention and affect our perception of musical composition. In that understanding, the special aspects of composer’s activities, its interconnection and correlation with his oeuvre are opened in other view. Brilliant performance reformatting an art space composer’s work frequently appropriates him «double authorship». As a result is a phenomenon of identification with the name of great composer: L. Beethoven’s 5th Symphony – G. Von Karajan / L. Stokowski; J. S. Bach’s Goldberg Variations – G. Gould / R. Tureck; F. Сhopin’s works – V. Sofronitsky / V. Horowitz; P. Tchaikovsky – M. Pletnev. Exactly this influence aspect of performing art on the musical culture interested B. Croce who confirmed that musical composition only exists at the time of execution. However, choice the pair «composer-performer» depends up our perception, our readiness to acceptance an alternative artistic concept. Herewith prescription, forming «set» of value orientation of some shared identity: from group of like-minded persons to mass convictions, has a great impact here. The latter’s impact differs under studying a creativity of famous musicians and soi-disant «second place» musicians who fall under external influence easier than others do. Even in the light of constant changes of public conscience, one can highlight some hard values in it that characterize certain social stratums. However, and these value systems undergo a review for a time and modern society reject what was topically a couple decades ago. The result is that fashion phenomenon on performers or performing style appears. Accordingly, to continue to be relevant performing musician needs to have a gust of latest tendencies in art and to able to save value bases of personal mental outlook. Conclusions. The phenomenological approach to the study of the creative activity of a musician-performer allows one to go beyond the theoretic analysis that is traditional for musicology. Acceptance that the product of performing creativity can be defined as a phenomenon, reflecting several vectors of personal communication (dialogue with oneself, with a composer, public, historical epoch), can help not only in understanding the “musical work of the performer”, but also in understanding the phenomenal significance of performers in modern musical culture.
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Böhler, Arno. "Untimely Meditation: Nietzsche et cetera." Performance Philosophy 3, no. 3 (December 21, 2017): 631. http://dx.doi.org/10.21476/pp.2017.33178.
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The following lecture performance was a part of the research festival Philosophy On Stage#4 at Tanzquartier Wien, where new relations between philosophy and the arts were tested and put into practice. The lecture starts with the claim that philosophical thinking necessarily performs the temporality of the untimely as a mode of being-in-time, which realises a revolt of time against its times in favour of a time to come. Being neither part of the past nor of eternity, the temporality of the untimely calls future events into being.Insofar as philosophy shares the temporality of the untimely with the arts, the lecture-performance defines arts-based philosophy––the alliance of art and philosophy, by which philosophy has started to implement artistic practices into philosophy––as a field for the appearance of the untimely. As Jacques Derrida has shown in Politics of Friendship, the proposition “Alas! if only you knew how soon, how very soon, things will be – different! –”, characterises precisely the aporetic principle of a democracy of the future, grounded in the temporality of the untimely. The genitive ‘of’ thereby indicates a mode of democracy which does only exist as long as it keeps itself open towards its own changeability and eventfulness. Therefore it necessarily takes place as the prelude of a future one is able to affirm full heartedly in advance, that is to say, over and over again. A mode of being-in-time that touches the secret of Nietzsche’s most abysmal thought: the thought of the eternal return of the same, in which somebody has realized the never ending eternity loops of be-coming; a life of immanence; a recurring movement of eternity within itself.
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Ognieva, T. K. "ARTISTIC AND FIGURATIVE STATEMENTS IN UKRAINIAN SCENOGRAPHY OF THE XX CENTURY." UKRAINIAN CULTURAL STUDIES, no. 2(9) (2021): 67–83. http://dx.doi.org/10.17721/ucs.2021.2(9).13.
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The article "Artistic and figurative statements in the Ukrainian scenography of the XX century" analyzes the conditions and factors of develop- ment of the art of theater and scenography as a component during the XX century in Ukraine. The scenographic space provides an opportunity to synthesize elements of plastic arts to create an artistic and figurative solution and to form the emotional climate of a theatrical performance. During the development of the art of theater, an evolution of the scenography took place. The level of scenography in Ukraine in the 1920s and 1930s not only corresponded to the standards of the world art, but also exceeded its value orientations, provided the key to understanding artistic searches and discoveries on a global scale. Ukrainian scenographers offered independent artistic and figurative solutions of performances. In the scenography of the 1920s, O. Khvostenko-Khvostov used various means of design of space – construction, painting, fabrics, mobile machine, banner, film projection, light, photomontage, etc. A. Petritskyi even managed to give constructivism diversity and emotionality, perfectly synthesize the spatio-temporal characteristics of theatrical art, forming an artistic and figurative solution of the play. W. Meller's work in the 20s-30s of the XXth century is also an example of artistic figurative stage design of the play and the most fruitful inter- pretation of European innovative trends on the basis of Ukrainian theatrical art. The "social realism" style approved by the influenced the develop- ment of Ukrainian culture; in theatrical art and, in particular, scenography, we observe a gradual departure from the artistic and figurative organiza- tion of the stage towards realistic reproduction of the place of action. Thus, the legacy of V. Meller, A. Petritskyi and O. Khvostenko-Khvostov before and after World War II is not distinguished by innovative, ex- traordinary stage solutions, which is explained by objective reasons. D. Borovskyi was one of the first scenographers of the post – war period who demonstrated artistic and figurative interpretation of dramatic material in Ukraine. Myron Kyprian has a special place among the artists of the stage, whose creative work of the 60s – 70s of the XX century abounds in artistic and figurative solutions of performances. We emphasize that the Ukrainian scenography in the 50's – 60's generally corresponded to the basic principles of the style of socialist realism. Most artists of the stage used standard techniques, but there were also artistic and figurative scenographic solutions that stood out from the general usual practice. The process of liberation of art in general and theatrical in particular has shifted and is constantly evolving towards getting rid of the dictates of worldview principles and aesthetic systems that determined the ways of development of art in previous years. The solution of the problems of visu- alization of the artistic and figurative organization of the stage space is the principle of universalism of the stage environment, plastic embodiment of ideas. At the end of the XXth century artists turned to a variety of artistic techniques in an effort to embody the symbolic subtext and philosophi- cal content of the dramatic material by enriching the palette of expressive and technical means. The scenography system combines various ele- ments, visual and plastic characteristics of materials to metaphorize the action. The large-scale, monumental plastic embodiment of the main idea of the artist – scenographer coexists with the empty space of the stage. At the end of the twentieth century we observe the mutual enrichment and spiritual growth of artists – scenographers who form the artistic and figurative solution of the play and the audience, able to perceive and care about the metaphorical symbolic sphere of plastic – spatial coordinates of the play.
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Putcha, Rumya S. "Yoga and White Public Space." Religions 11, no. 12 (December 14, 2020): 669. http://dx.doi.org/10.3390/rel11120669.
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This article connects recent work in critical race studies, museum studies, and performance studies to larger conversations happening across the humanities and social sciences on the role of performance in white public spaces. Specifically, I examine the recent trend of museums such as the Natural History Museum of London, the Metropolitan Museum of Art in New York, and the Museum of Fine Arts in Boston, to name but a few, offering meditation and wellness classes that purport to “mirror the aesthetics or philosophy of their collections.” Through critical ethnography and discursive analysis I examine and unpack this logic, exposing the role of cultural materialism and the residue of European imperialism in the affective economy of the museum. I not only analyze the use of sound and bodily practices packaged as “yoga” but also interrogate how “yoga” cultivates a sense of space and place for museum-goers. I argue that museum yoga programs exhibit a form of somatic orientalism, a sensory mechanism which traces its roots to U.S. American cultural-capitalist formations and other institutionalized forms of racism. By locating yoga in museums within broader and longer processes of racialization I offer a critical race and feminist lens to view these sorts of performances.
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Lazer-Pankiv, Olesia, and Nataliia Кorolova. "EMOTIONAL AND EVALUATION CHARACTERISTICS OF PROFESSIONS AND TYPES OF ACTIVITY IN ANCIENT GREEK PROVERBS." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 32 (2022): 41–46. http://dx.doi.org/10.17721/1728-2659.2022.32.08.
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The results of ancient Greek phraseological units study, which represent the emotional and evaluative characteristics of different professions and activities by ancient Greeks, are presented. 138 ancient Greek phraseological units were analyzed, which include lexemes of the semantic field "professions and activities" (in particular, those that denote the object, result, tool, place of (professional) activity, as well as people's proper names – representatives of a profession that have become a precedent). The lexemes of the semantic subgroups "musical art", "judiciary", "poetic art" have been found to have the highest phraseological productivity, "military affairs", "philosophy", "criminal activity", "medicine" and "sports" have the lowest one. It is important to emphasize that the core lexemes in the analyzed proverbs do not have an evaluative component in their semantics, but in the structure of phraseological units represent a socially fixed assessment or certain social stereotypes due to previous historical experience and cultural preconditions. Quite often stereotypical ideas of the ancient Greek linguistic and cultural community about the representatives of a certain profession or type of activity and their assessment depending on their place of residence or origin are verbalized in phraseological units. Quantitative analysis of phraseological units by type of axiological component revealed a significant advantage of proverbs with a negative connotation over positively or neutrally marked units. Professions and activities in the ancient Greek proverbs are evaluated in two aspects: the relationship between the subject and activity (matching skills, abilities of the subject of activity, effectiveness and benefit to society from the work performed) and personal characteristics of the subject of activity those that are associated in ethnic consciousness with representatives of certain professions and activities, that affect the quality and performance of work (such as mental abilities, taciturnity, truthfulness, ambition, greed, etc.).
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Burman, Nicholas. "A Community Ambience." Resonance 2, no. 2 (2021): 242–63. http://dx.doi.org/10.1525/res.2021.2.2.242.
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This paper analyzes sound-oriented public performance Tuning In—the neighborhood, a project by Tao G. Vrhovec Sambolec, which took place in Amsterdam in May 2019. Through a combination of micropolitical theory and consideration of the (sound) art heritage that Tuning In is part of, the term ambience is transformed into a concept that helps one make sense of the way sound and place combine to effect one’s comprehension of the space they are in. Weaving in and out of the event in question while drawing on descriptions of the contemporary, sound studies, the philosophy of community, and affect theory, this article concludes by recognizing Tuning In as a sonic apparition of a communal spirit. It argues that this was an event in which one could find an amplification of an altermodernity rooted in the commons and the anti-neoliberal. Through a historically rooted understanding of the community that made itself heard during this event, Tuning In is presented as a vibrational amplification of the sort of community that is at threat in a gentrifying city. While also highlighting the potential problems arising from community making, such as the exclusion of certain bodies, this paper argues that a community must have the space within which it can “tune in” to itself and produce its own ambience.
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Dutchak, Violetta, and Iryna Riabchun. "Carillon: History and Performing Capabilities of the Musical Instrument, its “Philosophy” and Prospects of Development in Ukrainian Culture." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 4, no. 1 (June 4, 2021): 45–60. http://dx.doi.org/10.31866/2616-7581.4.1.2021.233338.
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The article focuses on the history of origin, the specifics of sound production, the philosophy of performance of the carillon – a European musical instrument, which in recent decades has become active in Ukraine. The purpose of the research is to analyze the history of the carillon origin, its design, technical and expressive means of sound extraction and musical representation of composition and performance. Research methodology. The article uses historical, axiological, musicological and culturological approaches and corresponding methods. The historical-chronological method is used to consider the history of origin, stages of carillon distribution in Europe and the world, axiological – to determine the artistic and psychotherapeutic value of bell (carillon) sound, musicological and culturological methods contribute to various analysis’ aspects of the place and meaning of Ukrainian carillon. Scientific novelty of research. A historical retrospective of the carillon’s spread has been carried out; generalizations regarding its constructive, melodic-intonation, technical, figurative-artistic properties, in particular, in the Ukrainian sound space, have been introduced into the scientific circulation of Ukrainian musicology. Conclusions. The history of the creation of stationary and mobile carillons in Ukraine, stages of entering the specified musical instrument into the Ukrainian sound space, the character of the repertoire performed on it, pedagogical and performing aspects of its popularization have been analyzed. The dynamics of the International Festival of Bell and Carillon Art ‘Bells of Yasna Hora Unite Everyone’ is noted. The performance possibilities of the timbre combination of the carillon with other instruments and singing voices are noted. The technical and expressive significance of synthesizing carillon and the ensemble of bandurists has been highlighted and analyzed. Textural variation of ensemble combination of carillon and ensemble of bandurists and possibilities of thematic and genre extension of repertoire has been proposed.
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Heyd, Thomas. "UNDERSTANDING PERFORMANCE ART: ART BEYOND ART." British Journal of Aesthetics 31, no. 1 (1991): 68–73. http://dx.doi.org/10.1093/bjaesthetics/31.1.68.
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Idziak-Smoczyńska, Urszula. "Wittgenstein and the Theatre of Confession." Wittgenstein-Studien 9, no. 1 (February 21, 2018): 31–49. http://dx.doi.org/10.1515/witt-2018-0004.
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Abstract:In this article we perform a juxtaposition of Wittgenstein’s confession with the art of drama. Our aim is to transpose the private language argument criticizing the ostensive definition of internal objects (beetle in a box thought experiment) onto confession and the art of drama performance. The play (possibly called “game”) of the actor is not an expression of his soul interior, but an autonomous necessity in the most decisive meaning – which means: the only thing to be done. Correspondingly, confession doesn’t express any interior misery – it is an acting (the double sense of this word will be further developed), the only possible acting within these conditions, the only possible response to one’s condition – a condition of mutilation where human misery appears very distinctly. Confession creates neither a relation of power (as Foucault was demonstrating in his late writings) nor a form of emotional exhibitionism but a language game consisting on words judging oneself, immune to interpretation, explanation, and vanity coming from their expression. Irreplaceable words become the agent of salvation.1 This article is the effect of great encounters that helped me – a non-Wittgensteinian – to “see” Wittgenstein perhaps more than understand his philosophy. I should first address many thanks to Dr. Ilse Somavilla who welcomed me on the beautiful roof of the Brenner Archives in Innsbruck together with its director Prof. Ulrike Tanzer (Thank you!). It is through Ilse Somavilla’s writings and archive editing work that I could engage myself and follow her on a path of reading Wittgenstein with a sensibility for religion and art. I owe also a lot of thankfulness to Prof. Alois Pichler for long lasting, repeated hospitality in the Wittgenstein Archives at the Bergen University and great patience for my plans of developing research plans about Wittgenstein in the Polish Galicia. The ability to visit these two places, Norway and Austria, have left inside myself a Wittgensteinian imagery that creates the scenography of my philosophical attempt inside this article. My research would not be possible without receiving the scholarship of the Republic of Austria OEAD for which I also express my deep gratitude. I am also very grateful to Kasia Mala for her linguistic revision of my article. And finally, what triggered this Winn-gensteinian performance were unforgettable dinners with Maja, my Mother Agata, and my son Światopełek – to say they were inspiring is not enough…
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Neupokoiev, Ruslan. "Existential Features of Variety Numbers With a Puppet." Culturology Ideas, no. 14 (2'2018) (2018): 205–15. http://dx.doi.org/10.37627/2311-9489-14-2018-2.205-215.
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The dramatic principles of the variety art puppet are fundamentally different from the principles of classical drama, the application of the principles leads to the creation of not concert numbers, but etudes, or small performances. At the empirical level, there is an understanding of the difference between the number and the etude, but the lack of a clear differentiation between them and the lack the principles by which the existence of the number becomes possible creates serious problems for practical work. Principles of classical drama, formulated in the era of the Enlightenment on the basis of the Aristotle’s unity of place, time and action, continue to dominate in the view of dramaturgy to this day. Search of the principles difference from classical ones leads us to turn to a non-classical picture of the world in general and to the philosophy of postmodernism in particular. So we apply the postmodern method of deconstruction to the subject of the research. Speaking about the binary opposition “etude and number”, let us pay attention to the broader opposition: “performance and concert”. It correlates directly with the concepts proposed by Gilles Deleuze and Felix Guattari, described in the work “Rhizome”: “tree” and “rhizome”. The linear narrative as a performance corresponds to the “tree” concept, the nonlinear narrative as a concert number corresponds to the rhizome. Linear narrative is created according to the classical principles of decalcomania, but nonlinear narrative is created according to the rhizomatic principles of cartography. “Tree” is centred on the root – ideas, “rhizome” is not centred. Rhizome is the sum of the relationship of its points. The idea in the rhizome is secondary and may arise as a result of the relationship between points of rhizome. Analysis and deconstruction demonstrate that the concert and the numbers from which it is composed, in contrast to the performance and the etude, are rhizomatic systems, and therefore require radically other principles of drama. Application to rysomatic systems of the cartography method proposed by Gilles Deleuze, when instead of proving meaning, meaning is born in the process of the research, may become the main method of non-classical drama. The subject of the study in the concert number is the behaviour of the function, which may be a metaphor of the phenomenon of life, embodied in a certain form in the non-inherent for this function of the proposed circumstances. The form-function and the proposed circumstances become points of the rhizome, and their interaction creates rise to the meaning of the concert number. Principles of rhizomatic drama, built on the cartography method, can be applied not only in the concert number with the puppet, but also throughout the art of the postmodern era.
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Kashyrtsev, Ruslan. "“The play” as a part of the composer’s interpretation process." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 59, no. 59 (March 26, 2021): 131–44. http://dx.doi.org/10.34064/khnum1-59.09.
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Involving of philosophic achievements for investigations of the art of composer and performer is a productive practice in modern musicology. The concept of “Homo Ludens” by J. Huizinga (2011) is naturally popular, because its theoretical positions could offer a new approach to the composer’s interpretation consideration. This article dedicated to the problem of “playing” component in composer’s art and this is a relevant branch of modern Ukrainian musicology. The offered view, which includes the concept of “Homo Ludens”, is called for studying of the role of the “playing” component in the process of composer’s interpretation. To accomplish this objective, the analytical method and the method of abstraction and concretization were used. The research of “the playing” component in the communicative system of “composer – performer – listener” is looking promising and there is the relevance of this theoretical work; the scientific newness is there because relatively rarely studied phenomenon of composers’ interpretation appears in a new point of view through the prism of “Homo Ludens” concept by J. Huizinga. During the investigation the features of “the play” were determined as inherent for the composer’s art. They are: 1) the presence of a certain “space” for an “action” (the “inner” universe of composer’s imagination and the “real” place for the working process); 2) “the regular occurrence” of artistic pieces production; 3) “the game rules” – theoretical and practical (including ones, invented by a composer himself); 4) “the withdrawal” from the “real world” during the working process. Additionally, the “agonal” aspect of “the play” (a presence of “the challenge”), despite of its importance, exists together with an urgent necessity for the self-expression by the artistic personality. The composer’s interpretation is a part of every sort of composer’s art: 1) writing a piece on the base of musical “primary source” (Kotliarevska, 1996; Deineha, 2001; Borisenko, 2005; Moskalenko, 2012; Paliy, 2012); 2) processing and integration an image of non-musical origin to the dimension of music art (Khutorska, 2009); 3) invention of an own artistic concept. The musical piece creation, “the composition” itself, is a process of production and synthesis of “the material” and involves the artistic interpretation as a mean of translation (transcribing) and evaluation of a preciseness of this translation. The last contains the “playing” component within – the composer “plays” roles of a performer and a listener in the perspective “projection”, while evaluating a cogency of piece’s future “sounding”. While a piece of music gains more “material” image in the text written down, the “playing” component rate decreases as the opposing, “labouring” one increases. Exclusion of “playing” component subverts the base of “composer – performer – listener” communicative system, in which an important role belongs to such features of “the game” as “the genuineness of play” (a cogency of performance and concert event) and “the withdrawal” of an audience from their reality to different world of music. In the composer’s art an exclusion of “the playing” component reduces the potential of interpretation process, which could lead to formal fixation of an artistic idea or invention of formal ideas. An audience “withdrawal” from the “real world” to domain of concert event (namely, the creating of a “playing” atmosphere of the concert with its own “rules”) also depends on a concert hall entourage. The role of narrator is especially important for the “attuning” of listeners to percept unfamiliar music for them. Thus, “playing” component is necessary for the system of “composer – performer – listener” integrity and is a mark of the musicians’ artistry.
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Burganova, Maria A. "LETTER FROM THE EDITOR." Scientific and analytical journal Burganov House. The space of culture 18, no. 1 (March 10, 2022): 6–9. http://dx.doi.org/10.36340/2071-6818-2022-18-1-6-9.
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Dear readers, We are pleased to present to you Issue 1. 2022, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research areas concern topical problems in multiple areas of culture, art, philology, and linguistics. This versatility of the review reveals the main specificity of the journal, which represents the current state of the cultural space. The issue opens with the article "Al Noor Island - a Place Where Art and Culture Meet Nature" by J. Smolenkova. It is devoted to modern architecture and touches upon the philosophy of architecture ecology as a new concept of contemporary construction. On the example of a unique project implemented on the island of Al Noor in the UAE, the author considers examples of pavilions and sculptural installations, united by the theme of new aesthetics and humanistic mutual influence of nature and architecture as new realities of modern society. In her article "Glasstress: a Transparent Border Between Mimicry and Mimesis", M. Burganova analyses the modern artistic process that began in the middle of the 20th century as part of the craft + art concept using the example of "Glasstress. Window to the Future” exhibition, held in the State Hermitage Museum in St. Petersburg. The Stalinist Empire style, a unique phenomenon in the architecture of the Soviet period, is analysed by V. Slepukhin in the article "Soviet Architecture of the 1930-1950s". The author determines its place among such architectural styles and trends as Art Nouveau, Rationalism and Constructivism and gives a detailed description. In the article “Palladian Architecture of Denmark in the 17th-18th Centuries”, O. Tsvetkova considers the evolution of architecture in Denmark in the 17th-18th centuries, explores the influence of French classicism and Dutch Palladianism on national manifestations of style. On the example of specific buildings, the chronology of the classical architectural tradition development is traced. The creative continuity of architectural dynasties is studied in the context of the pan-European architectural trends of the time; the history of the Danish architecture development is traced. I. Pavlova continues the theme of dialogues in art in the article “The Role of the ‘English’ Theme in One of the Episodes of L. Tolstoy’s Novel, Anna Karenina". The author expresses the opinion that the development of the "English" theme in the episodes of the races and preparations for them serves to dispell false values, the ephemeral virtues of Tolstoy's contemporary society, pride and arrogance. The author believes that the main role of the "English" theme lies in the development and implementation of the moralistic setting of the novel, the expansion of the content space of the work and depiction of the dramatic image of the era. In the article "V. Borovikovsky’s Sketch ‘God the Father Contemplating Dead Christ’ As a Synthesis of Western European and Orthodox Traditions”, V. Makhonina considers iconographic interpretations of the plot and conducts a stylistic analysis of the work. The article "The Concept - Text - Interpretation Triad in Piano Music of the Second Half of the 20th - 21st Centuries" by O. Krasnogorova is devoted to the problems of the performing arts of modern times in the context of the general system of humanitarian thinking. The concept of interpretation from the standpoint of conceptual metaphors and research in the field of musical semiology are considered by the author. In the article, the broad interpretation of a musical text goes beyond the actual musical text into the area of ??signs, metaphors and metonyms. In the article "Instrumental Performance on Wind and Percussion Instruments in the Context of Traditional Rituals Accompanying Work in China", Huang Shuai analyses traditional Chinese wind and percussion instruments; he considers such issues as instrumental combinations and musicians. The author applies the historical research method, source study and musicological analysis of audio and video materials. The publication is addressed to professionals specialising in the theory and practice of the fine arts and philology and all those interested in the arts and culture.
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OYEWALE, Kayode, Ayodeji ILESANMI, and kehinde ALLIU. "MANAGING STRESS IN A RECESSED ECONOMY: IMPLICATIONS FOR BANK EMPLOYEES." LASU Journal of Employment Relations & Human Resource Management 2, no. 1 (December 1, 2020): 202–15. http://dx.doi.org/10.36108/ljerhrm/0202.02.0141.
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This study examines the notion of stress management in a recessed Nigerian economy with the implications for bank employees. In the process, it further considers the stiff competition in the banking sector coupled with the current sharp decline in the global price of crude oil with its attendant implications for the performance of the Nigerian economic growth which has a spillover effect on indwelt elements like stress factor facing the banking employee. Based on this foundational philosophy, 300 structured questionnaires were administered of which 218 were found usable and on which an in-depth analysis was conducted via the use of Statistical Package for Social Sciences’ (SPSS) data analysis; whilst Correlation and Regression analyses were applied to test the formulated hypotheses. The finding of the research effort affirms that stress issue in the workplace is of a growing concern particularly in the banking sub-sector. This development portends a detriment to the health and psychic of bank employees – and thus poses a great threat to work place performance. Further findings from the study; reveal amongst others; the potential stress-propelled debacle facing the bank employees in different dimensions. These include work overload, low level of job satisfaction (in spite of measurable remunerations and lack of autonomy–including job insecurity. The study recommends amongst others; that effective management of bank staffers require developing action plans by bank management that would entail monitoring, re-assessing (via feed-back mechanism) the dynamics of the internal workplace and the turbulent external environment. It concludes on the note that, where the optimum of an average bank employee is sought, the work environment should embrace his participation in decision making process at appropriate level of the affected organization. This is largely achievable through his engagement in state of the art training programs amongst other incentives.
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Malaieva, Tetiana. "The method of double repetition action in the art of piano playing as an artistic and expressive technique." Bulletin of Mariupol State University. Series: Philosophy, culture studies, sociology 9, no. 18 (2019): 57–62. http://dx.doi.org/10.34079/2226-2849-2019-9-18-57-62.
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This article is a deep study of the technical possibilities of the modern piano and the use of this knowledge in the musical and pianistic development of the personality. The history of the modern piano begins in the XIX century. In 1823, Sebastien Erar in Paris invented the mechanism of double rehearsal. It was a double rehearsal that marked the beginning of a new history of the modern piano. Its main task is to achieve the sensation of closing a fingertip with a string. Similarly, as the ligaments of the vocalist close or the bow with the string of the violinist. Double rehearsal is a thin spring mechanism that allows you to repeatedly press a key from half or a quarter of a key's stroke without lifting your finger from the key.This mechanism drives the hammer, and the damper remains motionless. This creates a pedal sound effect. Possession of a double rehearsal allows the pianist to understand that any touch to the keyboard affects the quality and color of the sound. Touching the keyboard is called Touche - unfortunately a forgotten professional concept. Frederic Chopin owned an excellent touche, for which he was called the "Singer of the piano." Famous musician, conductor, pianist, composer, music theorist, philosopher, human rights activist, Honored Artist of Russia Mikhail Arkadyev is considered a modern researcher of double rehearsal. Mastering a double rehearsal is achieved by repeating a single sound or akorda of three, four sounds on a legato without using the right pedal. Therefore, it is necessary to learn from the very beginning and the first touch. There are many examples of the use of double rehearsal in music literature. It can be any repetition of the same sounds. She creates a variety of musical images. Possession of a double rehearsal contributes to the technical freedom of the pianist, aesthetic and physical support when playing the piano. The research of the ordered topic revealed that the sophisticated mechanism of the double rehearsal is the first and true "soul of the piano" (pedal - "friend") She (double rehearsal) contributes to the technical maintenance of the perfect performance of the musical work and requires a painstaking work as a music teacher, and his students. And this must be done from the beginning of education and education of music school students. As a conclusion of the study, it should be emphasized that today in education the personal-oriented pedagogy comes to the fore. Therefore, the upbringing, development, formation of individual and personal qualities in pupils with the means of music should occupy the current place in the work of musical schools. And this only confirms the relevance of the topic of research and requires its further development.
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Kania, A. "Review: Art as Performance." Mind 114, no. 453 (January 1, 2005): 137–41. http://dx.doi.org/10.1093/mind/fzi137.
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Graham, G. "Art and Architecture: A Place Between." British Journal of Aesthetics 48, no. 1 (January 1, 2008): 100–101. http://dx.doi.org/10.1093/aesthj/aym048.
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Zlotnikova, Tatiana S. "Philosophy and the Drama of Life: A Theater Experience of Understanding F.M. Dostoevsky." Observatory of Culture 18, no. 3 (July 22, 2021): 228–39. http://dx.doi.org/10.25281/2072-3156-2021-18-3-228-239.
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The article aims at a multidimensional discussion of the little-explored topic of the dramatic content of the philosophical problems in the works of F.M. Dostoevsky (1821—1881). There is proved that it was this feature of creativity that made the writer, with his philosophy of life and sharp, dramatically effective plot and psychological collisions, the most desirable and very productive author for the Russian theater art.Polyphony, dialogism, combined with the features of the tragic genre, are the basis for numerous theatrical embodiments of novels and novellas by F.M. Dostoevsky. The intensity of the action in his works gave rise to the expressions “novel-drama” or “drama in a novel”, “novel-tragedy”, and in theatrical practice it created the ground for the transformation of moral and philosophical problems into active stage action.The article reveals the context of F.M. Dostoevsky’s works — the time and conditions for the emergence of novels and novellas, the problem field that united and separated him from the works of his predecessors and contemporaries, which is done on the basis of a brief description of several aspects of the philosophical-aesthetic and socio-moral systems. In this context, according to our concept, a special place is occupied by the idea that life in Russia is absurd and ridiculous, and the reflection of the absurd is the most important artistic paradigm.The article proves that the analyzed philosophy of F.M. Dostoevsky’s life received polar genre embodiments in the theater. Thus, the dramatic and melodramatic beginning was characteristic of the performances that had in their center the so-called little man. The article presents an understanding of the most remarkable performances of the second half of the 20th and the beginning of the 21st century: “The Idiot” by G. Tovstonogov, with a new trend of searching for a “positively beautiful” person, which had a significant impact on many theatrical experiences in Russia; “The Petersburg Dreams” by Yu. Zavadsky, as a unique experience for Soviet art of creating a tragic work in full accordance with the aesthetic characteristics of this genre; “And I Will Go, and I Will Go” by V. Fokin, as the last emotional outburst of the young generation of Soviet creators who thought in the moral and psychological parameters of F.M. Dostoevsky’s characters; “The Karamazovs” by K. Bogomolov — a postmodern experience of an absurdist reading of the multifaceted text of the classic.In the works of the writer and their theatrical embodiment, the article notes the signs of a carnival worldview, a combination of grotesque and subtle psychologism in the stage versions of F.M. Dostoevsky (in particular, when working with ironic and satirical texts, “Uncle’s Dream” and especially “The Village of Stepanchikovo”, where sympathy and negative connotations are integrated into a single artistic space). The article correlates the writer’s works existential interpretations by theatrical creators of the 20th and early 21st centuries with socially significant problems, life choices, and dramatic conflicts that characterize Dostoevsky’s philosophy.
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Davies, D. "Collingwood'S 'Performance' Theory Of Art." British Journal of Aesthetics 48, no. 2 (April 1, 2008): 162–74. http://dx.doi.org/10.1093/aesthj/ayn003.
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HEIN, HILDE. "Symposium: Public Art,What Is Public Art?: Time, Place, and Meaning." Journal of Aesthetics and Art Criticism 54, no. 1 (December 1, 1996): 1–7. http://dx.doi.org/10.1111/1540_6245.jaac54.1.0001.
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Horetska, Nataliia. "Stylistic features of the performing ancient instrumental music." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 110–32. http://dx.doi.org/10.34064/khnum1-57.07.
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Background, objectives and methodology of the research. Musical performing art of the XX–XXI centuries demonstrates a steady and growing interest in a huge array of music from pre-classical eras – the Middle Ages, Renaissance, Baroque. The baroque music occupies a leading position in the field of instrumental performing as an obligatory part of the educational (works by J. S. Bach) and concert repertoire. The problem of interpretation of early music, acutely posed by musicians of the XX century – up to the reconstruction of all historical performance parameters – retains its relevance. In this regard, we note that the performance of a piece of music does not always make off the strongest impression precisely in its “primary” – restored – form, since reconstruction is limited by the volume of our historical knowledge, while modern musical instruments have a much wider range of expressiveness, than theirs historical predecessors, and the modern interpreter – “de facto”, due to his location in the historical space – a much richer thesaurus. So, the aim of this article is systematization, from the standpoint of the teaching experience of its author in the piano class, observations and practical recommendations regarding the style of performing of ancient instrumental music and approaches to its interpretation by a pianist on an instrument of modern construction. The methodology of the study includes an appeal to the intonation theory of B. Asafiev (1971), when considering the dynamic processes of formation of the musical form and the functioning of articulatory units – motifs, phrases, rhetorical figures, strokes, etc.; to the provisions of the works of M. Mikhailov (1981), E. Nazaikinskiy (2003), O. Katrich (2000) concerning the theory of styles; V. Kholopova (1979) and G. Ignatchenko (1983), when considering performance techniques that emphasize the originality of the texture of baroque music; as well as generally accepted methods of scientific research: analysis, selection, structuring of information with its subsequent generalization. Presentation of research results. The study of ancient instrumental music in the piano class is extremely important for the formation of a competent specialist, a musician of a wide range. In the cognitive process, such stages must be passed as determining the style, genre, form of the musical work, identifying the features of the musically expressive means used in it and finding appropriate ways to embody them. It is necessary to make as complete an idea as possible of the past historical epoch, its philosophy, aesthetics, different types of art and their interaction. The purpose of work on pieces of ancient music should be directing а performer to the general laws of “style of the era” (according to M. Mikhailov, 1981), because, despite national differences, by the middle of the XVIII century, a certain “panEuropean” style was formed, which was of great importance for the formation of the next generations of musicians. One of the brightest manifestations of the musical style of the seventeenth and eighteenth centuries is a close connection between music and the art of rhetoric. When referring to ancient music, performers must take into account the enormous influence that rhetoric had on the formation of musical thinking at that time. The close relationship of the latter with the oratory, which is based on a set of laws and rules, led to the influence of musical-rhetorical figures on the semantics of musical language, and, consequently – on the intonation-declamation sphere of musical text, ways of articulation. The latter were largely determined by the design features of ancient tools. The variety of characteristic techniques of instrumental sound production – expressive touches, among which a special place was occupied by the string strokes (legato, detache, martele, etc.) – has become an integral part of the style of European music of the XVII–XVIII centuries. Transferring them to the field of piano technique is necessary for adequate interpretation of works of this period, requiring the pianist to find appropriate analogues that allow to some extent to reproduce the figurative, articulatory, timbre-color, texture characteristics of the performed work. Modern piano, which due to a fundamentally different method of sound production does not claim to be an authentic reproduction of baroque music, has its own rich arsenal of expressiveness, which allows you to offer the listener no less interesting interpretive content of music of past eras. The art of outstanding pianists of the XX–XXI centuries, to whose audio and video recordings modern performers turn in search of a reference sound (G. Gould, S. Richter, S. Feinberg, T. Nikolaeva, M.Argerich, F. Gulda, G. Sokolov, A. Schiff and others) demonstrates this fact clearly. Conclusions. Not reconstruction, but reproduction of the style, image and spirit of early music becomes the leading principle of working on it in the piano class. And here the pianist should come to the aid of a conscious intonation, based on knowledge of both the general laws of the reproduced style and its characteristic details. The outstanding interpreter of early music V. Landowska (1991: 350) wrote: “One cannot ignore the reading of Quantz’s treatises on playing the flute, Leopold Mozart on the violin, Tosi-Agricola on singing, François Couperin, Rameau, Frescobaldi, Marpurg, K. F. E. Bach and many others – about playing keyboard instruments”. Finding “unexpected treasures” in them, “the disciples are delighted, because they begin to realize what they simply did not pay attention to before. In such cases, you find yourself witnessing an explosion of joy, somewhat reminiscent of the discovery of love”.
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De Clercq, Rafael. "The Historical Ontology of Art." Philosophical Quarterly 70, no. 279 (August 8, 2019): 268–81. http://dx.doi.org/10.1093/pq/pqz046.
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Abstract In this article, I argue that our ontology of art has undergone a major change in the course of modern history. While we currently think of artworks as parts arranged in a certain way, there was a time when artworks were thought of as metaphysically more akin to ordinary artefacts such as tables and chairs; that is, as wholes having replaceable parts. This change in our ontology of art is reflected in our approach to art restoration. But what explains the change? I will suggest that the change took place because of a change in our conception of the function of art. More specifically, I will suggest that we have started to think of artworks as parts arranged in a certain way, because we have started to think of artworks as having, primarily, an aesthetic function.
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Stecker, Robert, and John Dilworth. "David Davies, Art as Performance." Journal of Aesthetics and Art Criticism 63, no. 1 (January 19, 2005): 75–80. http://dx.doi.org/10.1111/j.0021-8529.2005.00183.x.
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Cooper, W. E. "Aesthetics in Canada: The State of the Art." Dialogue 26, no. 1 (1987): 123–34. http://dx.doi.org/10.1017/s0012217300042347.
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Opuscula Aesthetica Nostra is a pioneering publishing effort, blazing a trail which specialists in other philosophical fields should consider following. It purports to represent what is happening in aesthetics throughout English-speaking and French-speaking Canada today, and in consequence it is an intriguing exercise in Canadian bilingualism. It purports also to show, as co-editor Calvin Seerveld says in the Preface, that “aesthetics deserves its own bona fide place in the national market place of ideas”; so the editors have reprinted strong previously published papers, in addition to soliciting new material on the occasion of the Tenth International Congress of Aesthetics held in Montreal in 1984. The result is a satisfying pot-pourri of ideas.
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Gaiger, J. "The Fake: Forgery and its Place in Art. Sandor Radnoti." British Journal of Aesthetics 41, no. 3 (July 1, 2001): 339–41. http://dx.doi.org/10.1093/bjaesthetics/41.3.339.
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Żyniewicz, Karolina. "Junk art: The art that needs to be understood – Autoethnographic perspective." Technoetic Arts 18, no. 2-3 (October 1, 2020): 113–24. http://dx.doi.org/10.1386/tear_00031_1.
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Thierry Bardini, in his book titled Junkware, proposed that the apt name for contemporary art would be junk art. He stressed the significant change taking place in art: that the narration and explanatory discourse run by an artist is more important than the visual outcome of the project. According to the knowledge from STS (especially Bruno Latour’s writing), knowledge production is based on multilevel translations. Art based on science can be seen as a kind of translation as well. The production of biological knowledge and bio art creation looks pretty similar, being based on the same laboratory protocols. However, something interesting is happening regarding bio art’s presentations in galleries or museums. The audience is usually unfamiliar with the laboratory work process, which results in something akin to getting just one layer of that translation cake. What is the role of an institution in making junk art readable? What does being lost in translation mean in this context? To work on the questions, I use my autoethnographic notes from the performative killing of my cells (immortalized B lymphocytes), which took place at the opening of an exhibition titled Beyond Borders: Processed Body – Expanded Brain – Distributed Agency at Gallery Łaźnia in Gdańsk (18 December 2019).
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Benedicta Maier, Mary. "Does Artwork Have to be Beautiful?" Aristos: A biannual journal featuring excellent student works 1, no. 2 (September 2015): 1–7. http://dx.doi.org/10.32613/aristos/2015.1.2.6.
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Beauty’s relation to art work is a contentious problem for the philosophy of art. The problem is not new to the history of philosophy. Hume and Kant attempted to tackle the question in the modern era. Contemporary philosophers have broadened the definition of art to include works that stretch modern philosophers’ conceptions. With philosophers shifting their definition from the object to the subject, they have effectively marginalized beauty in place of another good or valued concept. Considering the status quo, this paper argues that beauty is a necessary condition for art work. It argues that philosophers have a problem when their broad definition of art disregards the beautiful to incorporate art work that is intentionally ugly or is only considered art work because of its being on display. Comparing the focus of other philosophical disciplines with philosophy of art’s focus on beauty, it argues that philosophy of art blurs its vision when it directs its gaze to that other than to its proper transcendental. Examining the intelligent and elevating characteristics of the art form of sculpture, the paper compares two famous works: Michelangelo’s Pietà and Warhol’s Brillo Boxes. Because the sculptor is able to communicate the beauty of creation through his art work, a philosophy of art that changes its questions to incorporate existing objects that are deemed “art” has not fully addressed the problem of beauty’s place in art work.
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O’Brien, Dan. "Philosophy and the visual arts: Illustration and performance." Human Affairs 31, no. 4 (October 1, 2021): 496–507. http://dx.doi.org/10.1515/humaff-2021-0044.
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Abstract In this paper I distinguish between illustrative and performative uses of artworks in the teaching and communication of philosophy, drawing examples from the history of art and my own practice. The former are where works are used merely to illustrate and communicate a philosophical idea or argument, the latter are where the artist or teacher philosophizes through the creation of art. I hope to promote future collaboration between philosophers, art historians and artists, with artworks becoming catalysts for artistic-philosophical investigation, thus revitalizing the idea of universities embodying ongoing and open-ended conversations.
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Venturelli, Suzete, Artur Reis, Nycacia Delmondes, Prahlada Hargreaves, and Tainá Martins. "Art in the era of ecocentrism." Technoetic Arts 17, no. 3 (October 1, 2019): 241–50. http://dx.doi.org/10.1386/tear_00018_1.
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Abstract This article describes activities carried out at the computational art laboratory and discusses a question about place. To think of place as the place of universal, it’s ground, the place where you live, it isn’t only a residence place, a construction of exploration, but also the planet as a possible place of survival. Therefore, we will present artworks that, in the name of a conception inspired by ecocentrism, propose to eliminate the ontological and axiological difference between all living beings and, for this reason, considers the biosphere as an important biotic unit in the context of artworks. Here the development of affective computer interfaces that seek to promote interactions is also described: a process by which an external or an internal stimulus causes a specific reaction, producing a perception, considering that the idea, in the Deleuzian and Guattarian sense, goes through creative activities. The idea arises in three distinct forms: in the philosophical context, in the form of concepts and in visual production. We describe below the results of collaborative research that has in common the poetics of interactivity between living beings and machines through graphical and machine interfaces, provided by computational processes and methods that approach several ideas involving affective mapping, body, nature and artificial life.
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Groth, Sanne Krogh, and Kristine Samson. "Sound Art Situations." Organised Sound 22, no. 1 (March 7, 2017): 101–11. http://dx.doi.org/10.1017/s1355771816000388.
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This article is an analysis of two sound art performances that took place in June 2015 in outdoor public spaces at the social housing areaUrbanplanenin Copenhagen, Denmark. The two performances wereOn the Productions of a Poor Acousticsby Brandon LaBelle andGreen Interactive Biofeedback Environments (GIBE)by Jeremy Woodruff. In order to investigate the complex situation that arises when sound art is staged in such contexts, the authors of this article suggest exploring the events through approaching them as ‘situations’ (Doherty 2009). With this approach it becomes possible to engage and combine theories from several fields. Aspects of sound art studies, performance studies and contemporary art studies are presented in order to theoretically explore the very diverse dimensions of the two sound art pieces. Visual, auditory, performative, social, spatial and durational dimensions become integrated within the analysis in our pursuit of the most comprehensive interpretation of the pieces possible.
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Flores, D. "Environmental History: An Art of People and Place." OAH Magazine of History 10, no. 3 (March 1, 1996): 3–4. http://dx.doi.org/10.1093/maghis/10.3.3.
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Xhignesse, Michel-Antoine. "What Makes a Kind an Art-kind?" British Journal of Aesthetics 60, no. 4 (August 6, 2020): 471–88. http://dx.doi.org/10.1093/aesthj/ayaa027.
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Abstract The premise that every work belongs to an art-kind has recently inspired a kind-centred approach to theories of art. Kind-centred analyses posit that we should abandon the project of giving a general theory of art and focus instead on giving theories of the arts. The main difficulty, however, is to explain what makes a given kind an art-kind in the first place. Kind-centred theorists have passed this buck on to appreciative practices, but this move proves unsatisfactory. I argue that the root of this dissatisfaction stems not from the act of kicking the can down the road, but from not kicking it far enough. The missing ingredient, I argue, is a notion of convention which does the work of marking the difference between art and non-art for a given physical medium.
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Bobrowska, Ewa. "Rhetoric of shown truth performance art." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 26, no. 26 (September 1, 2019): 86–106. http://dx.doi.org/10.5604/01.3001.0012.9885.
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This paper is focused on the phenomenon of the art of performance and happening, in particular by Allan Kaprow, as well as the forms of self-torture in the art of Chris Burden and Günter Brus. In their expression, performance is sincerity, the moment of truth, bringing out to light what, by the immersion in the stream of life, could remain undiscovered and veiled. The rhetoric of truth in this art is presented, inter alia, in the context of Heidegger’s statements on the essence of art and the function of the process. Performance is a peculiar, modern form of aestheticism, challenging time and the temporary dimension of existence, the limitations of one’s body and the psyche. In this way, the madness of this art comes close to the experience, which Kant describes as the sublime. The form of self-torture in this art discloses the need to escape from the suffering inflicted by being and the Self’s escape from itself in the philosophy of Emmanuel Levinas.
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Matheson, Carl, and Ben Caplan. "Modality, Individuation, and the Ontology of Art." Canadian Journal of Philosophy 38, no. 4 (December 2008): 491–517. http://dx.doi.org/10.1353/cjp.0.0030.
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In 1988, Michael Nyman composed the score for Peter Greenaway's film Drowning by Numbers (or did something that we would ordinarily think of as composing that score). We can think of Nyman's compositional activity as a ‘generative performance’ and of the sound structure that Nyman indicated (or of some other abstract object that is appropriately related to that sound structure) as the product generated by that performance (ix). According to one view, Nyman's score for Drowning by Numbers — the musical work — is the product generated by Nyman's compositional activity (namely, an abstract object) and, more generally, artworks are identified with the products generated by compositional or other creative activities. Let's call this view The Product Theory. By contrast, according to another view, Nyman's score for Drowning by Numbers is the generative performance itself (namely, Nyman's compositional activity) and, more generally, artworks are identified with generative performances themselves.
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Yang, Xiao Long. "Difference and Identity in Piano Performance Information." Proceedings 47, no. 1 (June 2, 2020): 59. http://dx.doi.org/10.3390/proceedings2020047059.
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With the arrival of the information society, the research on the philosophy of music art has been paid more and more attention to, and the difference and identity in the information of piano performance is worth our deep thinking. In the new era of social information, it is a timely topic which breaks through the traditional research methods of piano art and utilizes the research system of information philosophy. Based on the perspective of information philosophy, this paper attempts to reveal the difference and identity of the main body of piano performance information by observing the ontology and law of music art research and applying the basic principle of information philosophy theory. Thus, the guiding significance of information philosophy in piano performance is discussed and further analyzed.
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López, María del Rosario Acosta. "Tragic Representation: Paul Klee on Tragedy and Art." Research in Phenomenology 43, no. 3 (2013): 443–61. http://dx.doi.org/10.1163/15691640-12341269.
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Abstract This paper traces and examines the different connotations given to the notion of “tragedy” in Paul Klee’s thought. From his early reflections on, Klee relates this notion to an intermediate and conflictive condition that characterizes human existence—an existence that takes place between heaven and earth, between the ethereal and the earthly. This essay focuses on how the connotations Klee gives to tragedy in different moments of his reflections transform the way he conceives the work of art. Hence, I will attempt to show how Klee’s reflections relate the tragedy of human existence not only to the figure of the artist, understood as a tragic figure, but also to an idea of tragedy that the work produces and represents in its own particular way of coming into being. Thus, this paper poses a new approach to Klee’s suggestive proposal on modern art as well as to the meaning given to pictorial representation throughout his thought and artworks.
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Webber-Heffernan, Shalon T. "Who’s Afraid of Cabaret? A Conversation with Dainty Smith and Golboo Amani." Canadian Theatre Review 190 (April 1, 2022): 73–76. http://dx.doi.org/10.3138/ctr.190.017.
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A conversation with Dainty Smith and Golboo Amani, the curators of PUSH.PULL: Intersections of QTBIPOC Cabaret and Performance Art, a six-month online series of interdisciplinary events examining emergent and intersectional developments in performance art and QTBIPOC cabaret. As the cabaret stage has traditionally held space for queer bodies to negotiate corporeal boundaries, queer performance has historically taken place on the fringes of popular culture. PUSH.PULL questioned what is considered legitimate art and what is seen as entertainment, by highlighting QTBIPOC cabaret performers as artists at the intersections of live stage performance and radical political performativity. This interview sought to address the question: what is capital P performance art afraid of? What delineates ‘fine’ art from ‘low’ art and those who have been kept at arm’s length from contemporary art?
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Demoor, Michael J. "The Philosophy of Art in Reid's Inquiry and Its Place in 18th-Century Scottish Aesthetics." Journal of Scottish Philosophy 4, no. 1 (March 2006): 37–49. http://dx.doi.org/10.3366/jsp.2006.4.1.37.
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It is argued that the scattered remarks on the fine arts made in Reid's Inquiry into the Human Mind (1764) present a conception of the relation between perception and the fine arts that is at once compatible with and different from Reid's mature theory of art in Of Taste (1785). This alternative account of art-relevant perception also points beyond the limits of a philosophy of art developed according to the traditional theory of taste dominant in 18th-century Scottish aesthetic thought, and anticipates certain 20th-century theories.
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Taylor, Nora A. "Vietnamese Anti-art and Anti-Vietnamese Artists: Experimental Performance Culture in Hà Nội’s Alternative Exhibition Spaces." Journal of Vietnamese Studies 2, no. 2 (2007): 108–28. http://dx.doi.org/10.1525/vs.2007.2.2.108.
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Since 1995, artists in Vietnam have been staging performance art events in alternative art spaces around Hàà Nôôi and Hôô Chíí Minh City, often defying government restrictions on public gatherings. That they take place outside of the ordinary venues for art, such as galleries and museums, gives these performances an illicit flavor that both attracts and deflects attention. This paper will argue that these art forms originate in a local culture of ritualized displays of emotion and are freeing artists from the constraints of the mainstream art world.
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Apostolopoulou, Georgia. "Panayotis Michelis’ Critique of Dialectics." WISDOM 2, no. 5 (December 1, 2015): 41. http://dx.doi.org/10.24234/wisdom.v2i5.34.
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Panayotis Michelis focuses on Plato’s and on Hegel’s dialectics, because these philosophers put the question of art on the highest level of truth. He, however, argues that they pose a ‛outside dialectics’ on art, because they consider truth as metaphysical truth and then they maintain art fails more or less to manifest this truth. Michelis develops a dialectics of synthesis as a ‛dialectics in art’ and vindicates the place of his aesthetics between philosophy of art and history of art.
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CHEPURINA, VERA. "VARIABILITY OF THE NARRATOR'S IMAGE IN SPEECH PERFORMANCE ART." Культурный код, no. 2022-3 (2022): 100–112. http://dx.doi.org/10.36945/2658-3852-2022-3-100-112.
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The article is devoted to the phenomenon of the narrator, who is considered as the subject of action in the speech performing art. The author of the article believes that the problem of the variability of the narrator's image deserves close attention. The answer to the question of who the performer feels in the story being told is of fundamental importance. The typology of the narrator's image revealed in the article is based on the research of specialists in the field of the language of Russian fiction. The degree of involvement of the narrator in the story he is broadcasting is used as the basis for the typology. Special attention is paid to the correlation of the narrator's image with the author of the literary work. At the same time, the author of the article argues that the variety of unique variants of the narrator's image in oral narration is determined not only by the main characteristics set by the author-creator, but also provided by the concept of the performer. The position of the narrator in the depicted world is due to the originality and uniqueness of the storytelling situation. The variability of the image, the dynamic relationship between the author, the narrator and the characters correspond to the principle of a pluralistic model of the world as one of the fundamental features of postmodern art.
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Dustov, Sanoqul. "The Role Of Uzbek National Performance In The Music Art." American Journal of Social Science and Education Innovations 03, no. 02 (February 27, 2021): 126–32. http://dx.doi.org/10.37547/tajssei/volume03issue02-20.
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In the article the role of our national percussion words formed on the basis of Uzbek musical performance art in IX-XII centuries in the cultural life of people at all stages of development from generation to generation for centuries, their joy, sometimes accompanying us in our sad days, reaching us in a perfected and perfected form, the necessary influence on the spiritual world of people with the sound of percussion instruments, their place in our modern cultural life.
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Côrte-Real, Eduardo. "Arachne’s Loom: A public art drawing for Porto Design Biennale 2019." Drawing: Research, Theory, Practice 5, no. 1 (April 1, 2020): 147–64. http://dx.doi.org/10.1386/drtp_00028_1.
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The essay claims that a substantial part of contemporary drawing research has worked on the conceptual boundaries of what drawing is or when it takes place. It reports on a piece of public art on the limits of drawing that illustrates contemporary research issues based on drawings as elements or substantial parts of installations, public art, urban interventions, performances, unconventional media and materials. The piece ‐ Arachne’s Loom ‐ was an installation of 1500 m of black fibre-optic cable displayed across an artificial lake connecting a public library building to five computer heads. It was paired with a wind turbine blade placed in a public square ‐ The Children of Eos ‐ and the two together were presented under the title Hard Design. Curating this intervention was an opportunity to explore in a practical way issues that interweave the materiality/immateriality of graphic elements and that have been an important part of the author’s previous work. The wind turbine blade and cables installed in public spaces set up a number of polarities, two of which are relevant for drawing research: monuments vs. festivals and shapes vs. shapeless. Within the first polarity, a symbolic foundation for public art rooted in ancient myths is discussed. Particular attention is given to the power of Arachne’s myth as a cautionary narrative connected to the origins of both figurative and abstract drawing. Within the second polarity, in opposition to the wind blade’s distinct, ‘pure’ form, the rhizomatic structure of a web-like network of fibre-optic cables is explored in the context of drawing research. The text links philosophical rhizomes, real rhizomes, representations of rhizomes and visual allusions to rhizomes with public art, drawing, drawing as process, the World Wide Web and its extensions. The epilogue frames the piece within Nelson Goodman’s aesthetics, suggesting that further research into the work of this philosopher may open interesting paths for drawing theory.