Journal articles: 'Synthesis of arts'

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Jeschke, Claudia. "Massine's synthesis of the arts." Dance Chronicle 20, no. 3 (January 1997): 343–46. http://dx.doi.org/10.1080/01472529708569291.

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Lisunova, Lyudmila, Inna Prokopchuk, Tetiana Tanko, Nataliia Tararak, and Oleksandr Tararak. "The Synthesis of the Arts: from romanticism to postmodernism." LAPLAGE EM REVISTA 7, no. 3B (September 19, 2021): 145–57. http://dx.doi.org/10.24115/s2446-6220202173b1525p.145-157.

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The article devoted to the genesis of the synthesis of the arts. The main research method is the cultural-historical approach, which allows considering this phenomenon in a historical perspective. Four stages were identified in the development of the arts: the primary syncretism of arts in primitive cultures; the separation of certain types of art and their acquisition of independence; the synthesis of the arts; the postmodern synesthesia of arts. The main ways of interaction of arts are determined: dominance, fusion, inclusion and juxtaposition. The authors of the article concluded that globalization, the development of technology, new types of communication contribute to the further complication and transformation of the synthesis of the arts, and such concepts close to it as “pluralism”, “interaction of arts”, “synesthesia” and “intermediality”. Broad prospects are opening up for the study of intermediality and multimedia as new heterogeneous semiotic systems.

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Rusevych, Tetiana, and Hanna Zavadska. "MEDIA ART IN MODERN SYNTHESIS OF ARTS IN ARCHITECTURE." Architectural Bulletin of KNUCA, no. 22-23 (December 12, 2021): 26–32. http://dx.doi.org/10.32347/2519-8661.2021.22-23.26-32.

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The article substantiates the problem of synthesis of media art in the modern synthesis of arts in architecture, provides a definition of the term " Media Art" as a higher form of artistic development. Attention is paid to the analysis of recent research and publications devoted to the study of the artistic component of interactive design in the synthesis of the arts of architectural space, the influence of media technologies on the formation of the architectural image of art centers, describing trends in media technology in architecture. The purpose of the article is to consider the forms of media art, their role in the synthesis of arts in architecture. The article emphasizes the objects created and embodied in Ukraine, describes the synthesis of arts from the angle of influence of media art on human perception and outlines the prospects for development. The history of the synthesis of arts in architecture from ancient times, the development of the synthesis of arts in the Art Nouveau style, the preconditions for the emergence of media art are briefly described. The synthesis of media art and architecture, interaction with other arts, namely painting, sculpture, music and others is considered on the example of the multimedia center Atelier des Lumières – "Workshop of the World" in Paris, which specializes in digital art exhibitions; Ukraine WOW exhibition in Kyiv, which is equipped with various forms of media art; media facades in Kyiv; media cube on the facade of Chicago Central House, which is the first media sculpture in Europe. The definition of "media facades" is also given and the influence of media technologies on the emotional and psychological state of a person is considered. Examples of interaction of various forms of media art with architecture are given. The conclusions determine the role of media art in architecture, the impact of media technology on human psychology, outline the prospects for the development of media art in the modern synthesis of arts in architecture.

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Meekums, Bonnie, and Jennifer Daniel. "Arts with offenders: A literature synthesis." Arts in Psychotherapy 38, no. 4 (September 2011): 229–38. http://dx.doi.org/10.1016/j.aip.2011.06.003.

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Manco, Giuseppe, Giuseppina Lacerra, Elena Porzio, and Giuliana Catara. "ADP-Ribosylation Post-Translational Modification: An Overview with a Focus on RNA Biology and New Pharmacological Perspectives." Biomolecules 12, no. 3 (March 13, 2022): 443. http://dx.doi.org/10.3390/biom12030443.

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Cellular functions are regulated through the gene expression program by the transcription of new messenger RNAs (mRNAs), alternative RNA splicing, and protein synthesis. To this end, the post-translational modifications (PTMs) of proteins add another layer of complexity, creating a continuously fine-tuned regulatory network. ADP-ribosylation (ADPr) is an ancient reversible modification of cellular macromolecules, regulating a multitude of key functional processes as diverse as DNA damage repair (DDR), transcriptional regulation, intracellular transport, immune and stress responses, and cell survival. Additionally, due to the emerging role of ADP-ribosylation in pathological processes, ADP-ribosyltransferases (ARTs), the enzymes involved in ADPr, are attracting growing interest as new drug targets. In this review, an overview of human ARTs and their related biological functions is provided, mainly focusing on the regulation of ADP-ribosyltransferase Diphtheria toxin-like enzymes (ARTD)-dependent RNA functions. Finally, in order to unravel novel gene functional relationships, we propose the analysis of an inventory of human gene clusters, including ARTDs, which share conserved sequences at 3′ untranslated regions (UTRs).

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Changzhi, Wu. "FORMS OF SYNTHESIS OF ARTS OF CHINESE ARCHITECTURE." Municipal economy of cities 4, no. 164 (October 1, 2021): 58–64. http://dx.doi.org/10.33042/2522-1809-2021-4-164-58-64.

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The article examines the synthesis of arts on the example of Chinese architecture. General historical questions of the development of Chinese culture and various arts during historical evolution are raising. Philosophical and religious positions of culture are distinguishing, which are identifying with the development of art. The question arises of the lack of a full analysis of ancient Chinese art for all types of artistic creativity that were developing during cultural development and formation: architecture, painting, calligraphy, music, sculpture, dance, and so on. A number of scholars who have developed methods of approaches to the systematization and study of the synthesis of the arts of ancient Chinese culture throughout its development are presenting. A number of techniques in painting and calligraphy that have a direct impact on the formation of the Chinese architectural environment are analyzing. These methodical conclusions can be useful in planning the activities of various organizational departments of architectural education and science. Problem statement: it became necessary to analyze and describe the methods and principles of organizing forms of art synthesis in Chinese architecture. Objective of the article: analyze the impact of forms of art synthesis in Chinese architecture. There is describing that the most important art form in China is painting. It is thanks to its compositional, color and harmonic laws that the general cultural world of ancient China is building. Color relationships, combinations with nature - all this through painting builds the canonical laws of architecture, music, dance, calligraphy, etc., taking into account national authenticity. It becomes the central core of the synthesis of Chinese art, generating its various forms for individual regions. In architecture, the action of forms of synthesis of Chinese arts is embodying through the organization of plasticity of the building, interior and exterior space, the ratio of small and large forms, and the location of accents. Experienced predecessors should be a role model for modern architects and artists. The combination of long-standing traditions of "synthesis of arts" with modern production technologies, as well as creative ideas of architects and artists of the XXI century can give new vectors of development of Chinese architecture and art science.

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Bergdoll, Barry. "The Synthesis of the Arts and MoMa." Art and Architecture, no. 42 (2010): 110–13. http://dx.doi.org/10.52200/42.a.tlvmhucy.

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1948-49 were key years for the reaction of the Museum of Modern Art’s newly amalgamated Department of Architecture and Design to respond to the rising discourse on the “Synthesis of the Arts.” The response was indirect and took the form of MoMA assessing the progress of modern architecture that it had been describing and forecasting for fifteen years. The exhibition “From Le Corbusier to Niemeyer, 1929–1949” was part of a larger assessment of the fate of the international style and of the interaction between abstraction in painting and sculpture and in architectural design, a theme laid out by Alfred Barr and Hitchcock in the 1948 book Painting Toward Architecture. Niemeyer’s unbuilt Treamine House, designed with Roberto Burle Marx, was upheld as a synthesis not only of the arts but of the movements coalescing towards a postwar abstract consensus.

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Wilson, Stephen, Manfred Esenbeis, and Heide Hagenbolling. "Synthesis: Visual Arts in the Electronic Culture." Leonardo 24, no. 2 (1991): 241. http://dx.doi.org/10.2307/1575312.

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Fidler, Geoffrey. "A spinozist synthesis of the liberal arts." Academic Questions 16, no. 1 (December 2002): 81–86. http://dx.doi.org/10.1007/s12129-002-1063-6.

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Novikova, L. V., and I. N. Sizova. "Synthesis of Arts in Formation of Professional Competences of Cultural Figures and Arts." Uchenye Zapiski RGSU 18, no. 1 (2019): 51–59. http://dx.doi.org/10.17922/2071-5323-2019-1-51-59.

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Novikova, L. V., and I. N. Sizova. "Synthesis of Arts in Formation of Professional Competences of Cultural Figures and Arts." Uchenye Zapiski RGSU 18, no. 1 (2019): 51–59. http://dx.doi.org/10.17922/2071-5323-2019-18-1-51-59.

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Murphy, Erin R., and Amanda S. Alexander. "The ‘Collective Voice that Could Change the World’: A Qualitative Interpretive Meta-Synthesis of Arts-Based Programming for Adults Experiencing Homelessness." British Journal of Social Work 50, no. 1 (December 17, 2019): 157–75. http://dx.doi.org/10.1093/bjsw/bcz155.

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Abstract Homelessness is a global phenomenon that contributes to and exacerbates social exclusion and marginalisation. The objective of this study is to generate a rich description of the experience of participating in arts-based programming as told by adults experiencing homelessness using a qualitative interpretive meta-synthesis. The synthesis includes eight studies, using direct quotes provided by fifty-three individuals in Canada, the USA and Australia. Synthesis of the eight studies results in three themes that describe the experience of participating in arts-based programming across geographic locations and art mediums: ‘arts as healing’, ‘arts as advocacy’ and ‘arts as self-empowerment’. While social workers, homelessness service providers, arts-based educators and researchers may be intuitively aware of the power of the arts, the synergistic findings of these eight articles indicate its influence among marginally housed populations. Implications and opportunities for future research are discussed.

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Kharchenko, POLINA. "Music in cinema and problems of synthesis of arts." Contemporary Art, no. 17 (November 30, 2021): 243–55. http://dx.doi.org/10.31500/2309-8813.17.2021.248469.

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The article raises the issues of realization of the problems of synthesis of arts, in particular in its theoretical and practical aspects, which has been implemented in cinema from the initial stages of its development to the present. This highlights the stages of theory and practice that have become significant milestones in the formation of cinema as a synthetic art form. Throughout the period of the latter there were discussions about its nature, in particular the peculiarities of its spatio-temporal and semantic organization, the specifics and features of the ratio of certain structural components in creating the film’s drama, the basics of interaction and the ratio of its basic means of expression visual range. Due to the development of modern technologies of composition, as well as the evolution of means of recording music and the practice of further distribution of film music as an independent work of art, the problem of synthesis in film has become acute at a new, insufficiently studied level. As a result of the study, important milestones in the history of the evolution of cinema in terms of synthesis of its main structural components, including screen image and music. Based on the analysis of the specifics of the synthetic interaction of the latter in the construction of dramaturgy of films, identified and characterized their implementation in various models of the relationship between music and visual series in cinema. The nature of cinema determines its specificity as a synthetic art form, but the characteristics and foundations of the interaction of its main means of expression are discursive. The ratio of traditional, ancient artistic languages, which have independent, developed semantics and principles of structural organization, require filmmakers to solve the problem of their synthesis in the construction of artistic concept, the general drama of films.

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Kharitonova, Natalya S. "Synthesis of Arts in Vasily Kandinsky's Creative Work." Journal of Flm Arts and Film Studies 9, no. 4 (December 15, 2017): 96–104. http://dx.doi.org/10.17816/vgik9496-104.

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The author analyzes the processes associated with synthesis of arts at the turn of the 19-20th centuries basing on Russian artist Vasily V. Kandinskys creation. He felt a certain relationship between different kinds of art and the need for combining them to create something special, new and unique. For the first time, the artist wrote about this in his book Concerning The spiritual in art, where he articulated the idea of affinity of all kinds of art, especially music and painting. Defining pictorial art as a part of spiritual life that promotes the movement forward and upward, Kandinsky develops not only the theory of the influence of color and color combinations on the viewer, but argues that the form (abstract or geometric) has an inner sounding in turn. Thus, straight lines are youthful, the curves convey maturity, the point is a small world, the horizons sound cold and flat, the verticals are warm and sublime, sharp corners are warm, while straight lines are cold and austere. Vasily Kandinsky believed that the composition was a chord of colorful and picturesque forms that exist independently as such, which are caused by inner necessity and constitute the whole, called a painting. The artist claimed that our harmony is based mainly on the principle of color and sound contrast. Not accidentally, Vasily Kandinsky, noting a strong impression in his youth from Wagners operas, entered the Monogram signature on his works in the triangle, and used musical terms for titles of his works: improvisation, composition, Fugue, Concerto, Suite, and others. Defining the scenic arts as part of spiritual life, which contributes to moving forward and upward, Kandinsky developed not only the theory of color effects and color combinations on the viewer, but argued that the form (abstract or geometrical) has inner sound in turn.

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Elkan, O. B. "SYNTHESIS OF ARTS AS A CULTURAL-ARTISTIC PARADIGM." Bulletin of Kemerovo State University of Culture and Arts, no. 47 (May 16, 2019): 27–31. http://dx.doi.org/10.31773/2078-1768-2019-47-27-31.

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Wiggins, Jackie. "Constructivism, Policy, and Arts Education: Synthesis and Discussion." Arts Education Policy Review 116, no. 3 (July 3, 2015): 155–59. http://dx.doi.org/10.1080/10632913.2015.1038674.

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Obracaj, Piotr. "Theatre architecture. A synthesis of arts in theatre." Czasopismo Techniczne 3 (2019): 51–62. http://dx.doi.org/10.4467/2353737xct.19.033.10207.

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NYKYFOROV, Andrii, Olga HULEY, and Оksanа KАPRАN. "Synthesis of arts in the ancient Russian church." Humanities science current issues 2, no. 47 (2022): 31–35. http://dx.doi.org/10.24919/2308-4863/47-2-5.

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Berkutbayeva, Kamshat, and Aliya Mombek. "Synthesis of arts: theater curtain as an aesthetic category." Pedagogy and Psychology 42, no. 1 (March 30, 2020): 236–42. http://dx.doi.org/10.51889/2020-1.2077-6861.30.

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In training a specialist of creativity higher education institutions, knowledge of special aspects of theatrical art is importance. The subject of this article is the theater curtain, aspects of its application in various historical eras of the development of the theater as a cultural phenomenon. The author’s systematization of information about the theater curtain as an integral element of any theatrical production is based on a deep understanding of its role not only as a technical tool, but also as a spatial composition of the theater performance and the auditorium as a whole. The mentioned features may have a substantial, geographical, historical, political and functional character. Certainly, the theater curtain as an object of research is one of the most interesting phenomena of such a scientific field as art criticism. From her point of view, the theater curtain has come a long way in development in search of better stage and artistic expression, thereby representing a specific sign system. The study of the phenomenon of the theater curtain on examples of venues at the international level allows to take a fresh look at the genesis and current state of issues of the artwork of the productions of Kazakhstan theaters.

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Игубнова, Александра Сергеевна. "New Synthesis of the Arts: Russian Composers about Multimedia." Музыкальная академия, no. 1(777) (March 31, 2022): 150–63. http://dx.doi.org/10.34690/225.

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Активное сближение цвета и звука началось в XX веке через изучение имманентных законов искусств, обоснование их взаимосвязи. Позднее основой для аудиовизуального направления стали новые технологии, в музыке эта тенденция наиболее ярко представлена с 1990-х годов в сочинениях с видео. Новая художественная ситуация выдвинула новые творческие проблемы, представленные в статье с точки зрения некоторых российских композиторов. Важнее становится прекомпозиционный этап - поиск общей идеи, «точки отсчета» (Дмитрий Курляндский, медиаопера «Письма счастья»). Особую роль играет соотношение музыкального и визуального времени: они могут как объединяться (Александр Хубеев), так и мыслиться отдельно друг от друга (Ольга Бочихина). Переосмысляется функция концертного пространства, которое теперь ощущается как один из параметров сочинения. Изменение художественной ситуации не приводит к полному уходу от музыки: различные медиа включаются в материал и понимаются композитором как потенциально свои. Увеличение количества параметров оказывается итогом общего изменения художественного сознания, идущего от начала ХХ века. The active convergence of color and sound began in the XX century through the study of the immanent Laws of the arts, the justification of their relationship. Later, new technologies became the basis for audiovisuaL: in music, this trend has been most represented since the 1990s in compositions combined music and video. The new artistic situation has put forward new creative probLems presented in the articLe from the point of view of some Russian composers. More important is the pre-compositionaL stage-the search for a common idea, a “point of reference” (Dmitri KourLiandski, the mediaopera “Letters of Happiness”). A speciaL roLe is pLayed by the ratio of musicaL and visuaL time: they can both unite (Alexander Khubeev) and be thought separately from each other (OLga Bochikhina). The function of the concert space is being rethought, which now feeLs Like one of the parameters of the composition. Changing the artistic situation does not Lead to a compLete departure from music: various media are incLuded in the compositions' materiaL and are understood by the composer as potentiaLLy his own. The increase in the number of parameters turns out to be the resuLt of a generaL change in artistic consciousness since the beginning of the twentieth century.

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Villanueva, Carlos Raúl. "The Integration of the Arts." Art and Architecture, no. 42 (2010): 53–55. http://dx.doi.org/10.52200/42.a.sxigo0sv.

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The arts bear witness to the cultural meaning of each period; we can discover the features that marked a historic individuality thanks to them. The more they demonstrate the union of concept or formal participation between them, the more clearly the social axis around which the man/culture duality revolves unfolds itself. The presence of this axis favours the agglutination of artistic expression. What is more, the unity of human content is fertile and a necessary condition so that the total integration flourishes. Architecture, painting, sculpture and technique combine around a common aim, around a collective purpose. The coming together of objectives facilitates the plastic synthesis.

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Drovaleva, Natalia A. "V. Ia. BRIUSOV AND THE SYNTHESIS OF ARTS (REGARDING HIS WORK ON THE NOVEL “THE FIERY ANGEL”)." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 57 (2020): 72–85. http://dx.doi.org/10.37816/2073-9567-2020-57-72-85.

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Mohiley, I. V. "PEDAGOGICAL AGREEMENTS OF FORMATION OF SCHOLARS' ESTHETU FEELINGS USING SYNTHESIS OF ARTS." Educational Dimension 13 (May 26, 2022): 163–74. http://dx.doi.org/10.31812/educdim.5760.

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The article deals with detachment and substantiation of pedagogical agreements’ maintenance according to the synthesis of arts for further perfection in the formation of scholars' esthetic feelings on art lessons.

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O., Sleptsov, and Soltani Ali Alimadad. "Scientific Secretary of the Department of Plastic Arts Synthesis at National Academy of Arts of Ukraine." Architectural Studies 5, no. 1 (February 2019): 53–57. http://dx.doi.org/10.23939/as2019.01.053.

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BASHKATOV, I. A., and V. D. MESHCHERYAKOV. "SYNTHESIS OF PLASTIC ARTS IN THE MODERN ART-PEDAGOGICAL PROCESS." Historical and social-educational ideas 8, no. 1/2 (April 7, 2016): 175–78. http://dx.doi.org/10.17748/2075-9908-2016-8-1/2-175-178.

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Onofrichuk, Liudmila. "SYNTHESIS OF ARTS AS A FACTOR OF TEENAGE CREATIVE EDUCATION." Scientific Issues of Ternopil Volodymyr Hnatiuk National Pedagogical University. Series: pedagogy, no. 1 (March 28, 2017): 199–206. http://dx.doi.org/10.25128/2415-3605.17.1.30.

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Kiun, Hwang. "Rimsky-Korsakov"s "Snegurochka": From Folktale to Synthesis of Arts." Korean Journal of Russian Language and Literature 33, no. 3 (September 30, 2021): 237–74. http://dx.doi.org/10.38077/kjrll.2021.9.33.3.237.

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Tsareva, Nadezhda A. "The Idea of Russian Symbolism about the Synthesis of Cultural Forms in the Context of Postmodern Culture." ICONI, no. 1 (2021): 126–36. http://dx.doi.org/10.33779/2658-4824.2021.1.126-136.

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The relevance of the topic is due to the attention to trends in the development of culture. The synthesis of cultural forms is one of the important factors in the dynamics of culture. The teaching of Russian symbolism about the synthesis of cultures was analyzed in the scientifi c literature of the entire twentieth century. The novelty of the research is to compare the idea of art synthesis in the early twentieth and twenty-fi rst centuries. Two aspects of the idea of synthesis are considered: 1) the relevance of the idea of art synthesis in the postmodern era; 2) music and the visual series as organizing centers of art synthesis in the era of information technology. The purpose of this article is to examine the teaching of Russian symbolism about the integration of various forms of art and the features of synthesis in the postmodern era. The idea of integrating cultural forms was one of the key elements in Russian symbolism at the beginning of the twentieth century and was interpreted as a real prospect for the development of culture. In a broad sense, synthesis in symbolism meant the integrity of life, the integration of all spheres of human activity, the “organic connection” of cultures of the past and present. The synthesis can be realized on the basis of the art of symbolism, which can create a new culture. The synthesis of arts was understood as the beginning of the formation of a new culture. The core of the synthesis of arts, the symbolists saw music. Postmodern art is characterized by synthetism. Computer and information technologies create new forms of synthetic media art. The video series becomes the center of integration construction of postmodern audiovisual culture forms. The symbolist idea of the synthesis of arts as the beginning of cultural change in the postmodern era remains a utopian project. But the creation of new art forms in postmodern culture i s based on integration. New technologies are becoming a factor that determines the specifi cs of the synthesis of arts and infl uences the dynamics of culture. Both in Russian symbolism and in modern art, the goal of art synthesis is to present an integral image of the world, to form a system of worldview attitudes.

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Price, Zachary. "Remembering Fred Ho: The Legacy of Afro Asian Futurism." TDR/The Drama Review 60, no. 2 (June 2016): 48–67. http://dx.doi.org/10.1162/dram_a_00547.

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What is Afro Asia? What are the political and cultural connections between Black Americans and Asian Americans? What does jazz have to do with martial arts? In 1997 Fred Ho began creating a series of Afro Asian jazz martial arts performance pieces that brought together a synthesis of martial arts practitioners, dancers, and jazz artists, reflecting the legacy of the Bandung Conference of 1955.

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Jia, Zhaoyang, and Guangxue Chen. "Study on Digital Image Inpainting Method Based on Multispectral Image Decomposition Synthesis." International Journal of Pattern Recognition and Artificial Intelligence 33, no. 01 (October 11, 2018): 1954004. http://dx.doi.org/10.1142/s0218001419540041.

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The paper analyzes the image inpainting problem of damaged Painting Arts for high fidelity images reproduction, and a digital image inpainting method based on multispectral image decomposition synthesis is proposed. Firstly, multi-channel images of Painting Arts are obtained by multispectral technology. Then, a polynomial regression method based on principal component is used to reconstruct the spectral image. The reconstructed image is decomposed by VO image decomposition model. During the inpainting process, the channel correlation of the structure image and the texture image of multispectral image is effectively removed. The digital image inpainting is performed respectively. Finally, the digital inpainted image is obtained by synthesis. The experimental results show that the digital image inpainting based on multispectral image decomposition synthesis reduces the problem of low image inpainting accuracy caused by the correlation between the color components in the traditional digital image inpainting process, and reduces the mismatch of the inpainting image. Appearance of pseudo color of inpainting image is reduced. MSE of multispectral images inpainting qualities is 2.7951 and PSNR of multispectral images inpainting qualities is 44.1681, so it is superior to traditional image inpainting algorithm. It provides a reliable basis for digital inpainting, digital archives and high fidelity replication of defective Painting Arts.

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Graves, Ph.D, P. Nelson. "ELAnatsui, Visual Arts and Intersection with Knowledge." World Journal of Education and Humanities 2, no. 3 (May 20, 2020): p71. http://dx.doi.org/10.22158/wjeh.v2n3p71.

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“Natural synthesis” compartmentalized the black art world. This essay unravels how with folkloric gleeEL Anatsui, in a “selective critiquing and re-evaluation of self” dared to “wriggle out” of that quagmire. Thusly, reactivating the dynamic terrain that lives and is animated from within the soul of artists, he forged a new path of creativity. With reappraisals of the intellectual dynamics that forged the artistic substance of the post 1960s; empirical analysis and the engagement of storytelling mechanisms, this essay unreels that artistry. Anatsui, in spite of his accademisisation and art practice, threads a detour to cloth making craft traditions, particularly the Kente weave and its autography; for inspiration. Hence, the “vital and enabling” intellectual paradigm “resumptions, disappearances, and repetitions” makes possible an intersection with arcane knowledge, while the “uniting representation” of the synthesis in the appropriation of Memory and Interview grounds the contexts within which each artwork is experienced. EL’s “non-fixed forms” make visible the temerity of new shapes and forms forged directly from the wellsprings and fecundity of African roots as exemplars of the art of the new dawn (Ben Shahn, 1965:53).A deconstruction of EL’s artworks reveals the groundings of his discourses on assemblages of “Forgotten Biography” and the engagement of “mythopoeia imagination” (Marina Paolo Banchetti-Robino, 2011) in the recalibration of personal expression in language and imageries that inflect spiritual ties to ancestry and the reality of memory. This is sufficient basis for the historical narration of the intersection of visual arts and knowledge.

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Hovsepian, Junie, Quentin Defenouillère, Véronique Albanèse, Libuše Váchová, Camille Garcia, Zdena Palková, and Sébastien Léon. "Multilevel regulation of an α-arrestin by glucose depletion controls hexose transporter endocytosis." Journal of Cell Biology 216, no. 6 (May 3, 2017): 1811–31. http://dx.doi.org/10.1083/jcb.201610094.

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Nutrient availability controls the landscape of nutrient transporters present at the plasma membrane, notably by regulating their ubiquitylation and subsequent endocytosis. In yeast, this involves the Nedd4 ubiquitin ligase Rsp5 and arrestin-related trafficking adaptors (ARTs). ARTs are targeted by signaling pathways and warrant that cargo ubiquitylation and endocytosis appropriately respond to nutritional inputs. Here, we show that glucose deprivation regulates the ART protein Csr2/Art8 at multiple levels to trigger high-affinity glucose transporter endocytosis. Csr2 is transcriptionally induced in these conditions through the AMPK orthologue Snf1 and downstream transcriptional repressors. Upon synthesis, Csr2 becomes activated by ubiquitylation. In contrast, glucose replenishment induces CSR2 transcriptional shutdown and switches Csr2 to an inactive, deubiquitylated form. This glucose-induced deubiquitylation of Csr2 correlates with its phospho-dependent association with 14-3-3 proteins and involves protein kinase A. Thus, two glucose signaling pathways converge onto Csr2 to regulate hexose transporter endocytosis by glucose availability. These data illustrate novel mechanisms by which nutrients modulate ART activity and endocytosis.

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Severina, Irina Markovna. "Manifestations of synthesis and pre-synthesis in jazz of the second half of the XX–XXI centuries." Uchenyy Sovet (Academic Council), no. 3 (February 15, 2021): 208–15. http://dx.doi.org/10.33920/nik-02-2103-07.

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Today, conversations about the synthesis of the arts, the unification of major trends and styles, cultural traditions and folklore from different parts of the world have become almost a common place. However, this is not always a synthesis: it is frequently only a pre-synthesis, for instance, in the form of a collage or even an intentional eclecticism. The article presents various cases of synthesis and pre-synthesis, one way or another related to jazz; then we will focus in more detail on the most illustrative examples in the work of Aleksandr Rostotsky – Moscow bass guitarist and creator of the "Jazz-Bass Theater", keyboardist, vocalist, composer and, additionally, an artist.

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Balashov, I. V., E. N. Leventseva, A. A. Kraeva, and V. K. Smolenskaya. "Integration of arts synthesis into subject-spatial design of the Moscow metro." Zemleustrojstvo, kadastr i monitoring zemel' (Land management, cadastre and land monitoring), no. 11 (October 10, 2021): 853–59. http://dx.doi.org/10.33920/sel-04-2111-07.

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The article analyzes the synthesis of monumental and decorative art in the design of metro stations, considers the issue of creating an underground space as a symbol of future happy life through the use of art elements, and raises the question of the future architectural design of the station interiors.

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SOLODILOV, Mikhail V., and Ekaterina S. KOROBOVA. "A SYNTHESIS OF ARCHITECTURE AND MONUMENTAL DECORATIVE ART IN THE ARCHITECTURE OF SOVIET MODERNISM WITH TOGLYATTI TAKEN AS AN EXAMPLE." Urban construction and architecture 7, no. 3 (September 15, 2017): 117–23. http://dx.doi.org/10.17673/vestnik.2017.03.20.

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The article describes the background of the principle of architecture and monumental arts synthesis that emerged in the domestic version of modernism in 1960s. It mentions artists and architects who contributed to the modernist architecture enrichment with artistic and plastic tools. The infl uence of Moscow monumentalists who worked all over the USSR improving the image of young Soviet cities is stressed. With Toglyatt i as an example, the paper demonstrates diff erent ways how the principle of architecture and monumental arts synthesis might be applied and also discusses the principle of a single urban design plan that emerged in Soviet architecture. The authors describe construction objects built according to this principle, give glimpses of biographies of artists. The given details are based on the previous archive studies. They also provide possible reasons for the decline in monumental art and predict the emergence of modern forms of art that would interact with architecture. Objects, to which the principle of architecture and monumental arts synthesis might be applied, become a potential and an internal resource for tourist and cultural att raction of the city.

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Jankovic, Ivana. "Vladan Radovanovic's "syntheѕic art"." Muzikologija, no. 3 (2003): 141–86. http://dx.doi.org/10.2298/muz0303141j.

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In the course of his artistic career, which has lasted for more than fifty years now, Vladan Radovanovic (b. Belgrade, 1932) has created works in the domains of electroacoustic music, mixed electronics, metamusic, visual arts artifugal projects, tactile art, literature, drawings of dreams, polymedial and vocovisual projects, as well as art theory. Central to his poetics is the theme of synthesic art. Based on a synthesis of the arts and a fusion of media, the flow of his opus disturbs the limitations of art. His synthesis of media-lines is neither a product of rational decision, nor is it inspired by the works of other artists. Its initial form appears in the mind of the artist as a sensation or a representation that emerges from sleep and dream or from his exploration of the mysteries of his inner being. In an attempt to create a classification of the arts that would suit his understanding of the nature of art, Radovanovic has suggested a basic division into single-media and multi-media arts. Single-media arts include music, poetry and painting, whereas the remaining arts belong to the multi-media group. The latter contains works created by an expansion of mixed forms such as theatre, opera and ballet, but in which the media involved accomplish greater integrity - mixedmedia (for example: happening, fluxus etc) multimedia (opera, film, environment) and intermedia (a term which possesses two meanings: a new media that is in-between media, or a new media in which all the elements are equal and integrated). Radovanovic prefers the second meaning, but he uses the term polymedia for such works. This term is analogous to polyphony, because Radovanovic has aimed to create a polymedia form in which separate media lines would be treated in counterpoint, in order to remain complementary and mutually dependant. In 1957, Radovanovic began to sketch his theoretical thesis, initiated by his concrete artistic output. Although he had distinguished his diverse artistic output according to formal and designative characteristics, later he subordinated his work to the term synthesis art. Synthesic art is, according to Radovanovic, one of the models of multi-medial arts. We have analyzed the works of Vladan Radovanovic, which do indeed belong to the category of synthesic art, on many levels. First of all we tried to locate his opus in the context of Serbian and European art. Radovanovic's avant-garde poetics was born in the context of Serbian art in the second half of the 20th century, which was dominated by 'moderate modernism'. His works did not fit into the existing world of art, and therefore were marginalized and underestimated. Despite his innovative spirit, hunger for novelty, and aim to transcend the materiality of materials, which are all characteristics of high-modern avant-garde poetics, Radovanovic claims autonomy. His latest works do not fit into the current world of art either, because he does not want to place his poetics in the domain of contemporary post-modern poetics and theories. His intentional evasion of fashionable currents is a product of his conscience, which asks that he remain faithful to himself and his inner artistic vision. Another theoretical challenge when addressing the works of this artist was to locate his synthesic art within the larger historical and contemporary manifestations of the total world of art, especially where his works compare with Richard Wagner's Gesamtkunstwerk. Radovanovic believes that his concept of synthesic art is similar to Gesamtkunstwerk, but in no way equal. Therefore, we have examined all the controversies about the usage of the term Gesamtkunstwerk, as well as different theoretical approaches to this concept and its evolution; then, we have analyzed it in terms of the theoretical and practical realization of synthesic art. By formulating in detail his theory of synthesic art, Radovanovic has given us a key for the understanding and analysis of his works of art. For example, we have analyzed several of his earlier multi-media works (Dreams, vocovisual works Desert (Pustolina), Polyaedar, Ball, Change and Vocovisual omages, and polymedia projects Electrovideoaudio, Building of Rooms-Signs, The Great Sounding Tactyzone, Polim 2, Polim 3, video-work Variations for TV) as well as one of his latest synthesic works, Constellations, in order to describe the practical realization of his theory, and to demonstrate how his poetic model is equally precise and flexible. Radovanovic both realizes and recognizes his artistic output and theoretical thought as a united product as they were both created in his synthesic mind.

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Rukmane-Poča, Ilze, and Linda Leitāne-Šmīdberga. "The Directions of Formal Expression in Latvian Contemporary Architecture in the Context of the Synthesis of the Arts." Architecture and Urban Planning 10, no. 1 (December 1, 2015): 39–48. http://dx.doi.org/10.1515/aup-2015-0006.

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Abstract Different types of formal expression can be found in the modern architecture of the 21st century - in publications, internet resources and in the generalizations of critics. In the context of the synthesis of arts the styles of sculptural architecture and surface architecture are noteworthy. Characteristics of this synthesis are also noticeable in kinetic architecture where the styles of surface kinetic architecture and sculptural kinetic architecture are distinguished. The genesis of images of buildings constructed in these styles is the result of the synthesis of arts; it reflects the development of historical styles as well as the ways of formal expression and their influences in the end of the 20th century and in the 21st century. This paper provides an analysis of constructed objects and proposals put forth in architectural competitions in Latvia’s 21st century modern architecture.

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Torrent, Horacio. "On Modern Architecture and Synthesis of the Arts: Dilemmas, Approaches, Vicissitudes." Art and Architecture, no. 42 (2010): 6–13. http://dx.doi.org/10.52200/42.a.cyzlho7g.

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The concept of “synthesis of the arts” became, in the 1940s, a leading principle in the search for renewing and improving modern architecture. Integration with painting and sculpture sought at bringing closer architecture and the people. But many dilemmas stood on the way: from the collaboration processes and the unity of the artistic experience, to “art for art’s sake” predominance or its social content. In the university cities of Mexico and Caracas as well as Burle Marx’s landscapes, the concept of integration reached wider scales. But it found its crisis in the extension to urban planning and the city - which had been, paradoxically, its ultimate target.

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Portnova, Tatiana Vasilevna. "A. Benois and a ballet theatre at the turn of the XIX–XX centuries (aspects of creative interaction)." LAPLAGE EM REVISTA 7, no. 3B (September 20, 2021): 158–67. http://dx.doi.org/10.24115/s2446-6220202173b1529p.158-167.

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The study’s goal is to give reasons and scientific credence for Benois’s creation in context of synthesis with fine arts and graphics in Ballet Theater of the end of XIX–beginning of XX century. The study objectives are to reveal phenomenon of arts synthesis in Benois’s method of work on performances and roles on ballet stage, to analyze peculiarities of poetics of a visual image in easel and stage works devoted to dance and created for ballet. The paper investigates artist’s creative method, defines techniques underling most of his works and revealing specific features of artistic, graphic, and theatrical heritage.

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Gómez, Hannia. "The Dwellers: The Integration of Art and the Architecture in the Ciudad Universitaria de Caracas." Art and Architecture, no. 42 (2010): 46–52. http://dx.doi.org/10.52200/42.a.sbsuof7n.

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When Villanueva worked in the Integration of the Arts project for the Ciudad Universitaria de Caracas, he moved from the idea of ‘synthesis of the arts’ (where arts “preserved their traditional features in order to qualify something whose existence was prior to them and of which architecture was the previous framework”) to the idea of ‘integration of the arts’, which “created a new architectural–sculptural–pictorial organism which did not express hierarchy but the formal combination of the functional and the spatial as equal categories,” he took a transcendental step to open his architecture to experimentation in the field of modern art.

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Beilby, Alvin L. "Art, archaeology, and analytical chemistry: A synthesis of the liberal arts." Journal of Chemical Education 69, no. 6 (June 1992): 437. http://dx.doi.org/10.1021/ed069p437.

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Avdieieva, Maryna, and Nataliіa Avdieieva. "Peculiarities of Synthesis of Arts in Architecture of Ukraine XX Century." Current problems of architecture and urban planning, no. 55 (November 29, 2019): 14–24. http://dx.doi.org/10.32347/2077-3455.2019.55.14-24.

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Litovko, Valentin. "INNOVATIVE MEANS OF THE REVIVAL OF SYNTHESIS OF ARTS IN ARCHITECTURE." space&FORM 2017, no. 32 (January 5, 2018): 89–104. http://dx.doi.org/10.21005/pif.2017.32.b-04.

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Terziev, Georgi. "THE ARTISTIC SYNTHESIS IN THE MONUMENTAL ARTS AS AN EDUCATIONAL PROBLEM." Education and Technologies Journal 8, no. 2 (August 15, 2017): 235–37. http://dx.doi.org/10.26883/2010.172.433.

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Kirienko, I. V., and O. V. Perich. "Synthesis of Arts in the Artistic Worldview within the Baroque Period." Университетский научный журнал, no. 61 (2021): 184–93. http://dx.doi.org/10.25807/22225064_2021_61_184.

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Kudryashov, S. V. "THE SYNTHESIS OF ARTS AND THE CONCEPT OF NATURE IN ROMANTICISM." Научное мнение, no. 11 (2021): 38–41. http://dx.doi.org/10.25807/22224378_2021_11_38.

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Di Scipio, Agostino, and Ignazio Prignano. "Synthesis by functional Iterations. A revitalization of nonstandard Synthesis*." Journal of New Music Research 25, no. 1 (March 1996): 31–46. http://dx.doi.org/10.1080/09298219608570696.

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Berngardt, Tamara V., and Ekaterina M. Smirnova. "Analysis and Synthesis of Professional Information: Modern Technologies." Bibliotekovedenie [Library and Information Science (Russia)] 1, no. 2 (April 28, 2016): 153–55. http://dx.doi.org/10.25281/0869-608x-2016-1-2-153-155.

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Review of educational practical manual “Technology of Analysis and Synthesis of Professional Information” by G.F. Gordukalova, Doctor of pedagogical sciences, Professor of Document Science and Information Analytics Department, St. Petersburg State Institute of Culture and Arts. The history, theory and practice of information analysis and synthesis are considered. Detailed and multidimensional analytical technologies and products of surveys and analytical activity are presented. There are characterized the structure and legal basis, organization and work efficiency of information and analytical services.

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BORTNIKOVA, V., T. B. PANICHEVA, and K. A. SHAMAKHUNOVA K.A. "ANALYSIS OF THE SYNTHESIS OF ARTS IN THE INTERIOR OF THE UNIVERSITY OF WARSAW LIBRARY." Archivarius 7, no. 4(58) (April 20, 2021): 4–12. http://dx.doi.org/10.52013/2524-0935-58-4-1.

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This work examines how the synthesis of arts takes place in the interior of the Warsaw University library.The Warsaw University Library with the Faculty of Law and Administration was built by the Budzynski & Badowski bureau in 2000 and immediately became one of the attractions of the Polish capital

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Stauffer, Isabelle. "Das galante Fest als Gesamtkunstwerk." Daphnis 49, no. 3 (July 14, 2021): 444–66. http://dx.doi.org/10.1163/18796583-12340026.

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Abstract Aurora von Königsmarck’s letters from Medevi show the outstanding role this celebrated baroque poetess played in the gallant festival culture at the Swedish court. They tell of courtly festivals taking place at the famous health spa Medevi in August 1682. They uncover festivals which do not appear in official festival books. So these letters represent very important documents of cultural history, allowing a fresh sight on courtly festival culture. This article inquires the gallant performance of Aurora’s letters, investigates them for well-known models, motifs and journals of courtly-gallant festivals and emphazises their political and aesthetical relevance. With her various artistical contributions Aurora tries to influence her position within the Swedish nobility. The festivals follow the French festival culture of Ludwig XIV. and are to be interpreted as synthesis of the arts, including several arts. Aurora’s letters are not only descriptions, but also a part of this synthesis of the arts.

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Journal articles on the topic 'Synthesis of arts'

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