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1
Tkachuk, Ilona. "Painting perception models of art groups «Zhyvopysnyi zapovidnyk» and «Paryzka komuna»." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 19–37. http://dx.doi.org/10.37131/2524-0943-2019-39-02.
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Background. A painting perception is a complex multilevel process of reception and transformation of information, which forms a subjective image of objects, serves as a communicative form of interaction between individuals, societies and cultures. A painting is a complicated system, which reflects the cultural situation in a society of a certain epoch, the worldview, conveys the complex of human feelings and beliefs, arises as a means of cognition. Everyone deliberately or involuntarily becomes a painting recipient, more or less engaging himself into the process of communication. Therefore, the approach to a painting is valid according to individual matrices of ideological notions complexes, concepts, principles, mentality, education and preparedness of a creator and a perceiver as a kind of non-verbal communication with a transfer of certain information during this process. Published scientific works refer to the narrow specifics of certain disciplines in the study of perception process of the painting, therefore, they do not constitute a holistic system of knowledge concerning this phenomenon. Among them we note the fundamental researches, which, in particular, set out aesthetic theories: perceptual (M. Beardsley), cognitive (R. Arnheim, D. Berlyne), informational (A. Moles); achievements in neuroaesthetics (V. Ramachandran), psychology of painting perception (V. Molyako, J. Gibson, S. Kosslyn). However, known presented painting perception algorithms do not take into account the entire range of components, parameters and the context of current communication process with art creation. It was revealed that the establishment of variants of components' interaction within the system «artist—painting—recipient», as different ways of cognition and coexistence in the information space, remains at the stage of formation and needs a fundamental development. Objectives. The objectives of the research are to identify concrete models of subjective-objective interaction within the system «artist—painting—recipient» as a result of perception the paintings of the groups «Zhyvopysnyi zapovidnyk» and «Paryzka komuna» in the artistic environment. As a material for conducting a practical investigation there were chosen the paintings of above-mentioned groups, because their art, both — as horizontal and vertical, formed a peculiar matrix of Ukrainian visuality. The art code of their works gives the opportunity to see the regularities of historical development of National visual experience. The range of painting form in all its aspects, from transavantgarde — to abstract, makes it possible to consider and analyze the difference between its specific characteristics and accordingly, different models of recipients' perception. Methods. Studying the disclosure of interactive features of interplay between painting and the recipient is related with certain difficulties, mainly of a methodical nature. Exceptionally an interdisciplinary research approach makes the most complete disclosure of the specifics of this process possible, determines its place in culture. During the research the system approach was used as well as such methods: experiment, modeling, structural-functional, statistical and comparative. In order to test the hypothesis, to reproduce the model of information system developed by author in real conditions, arose the need of organization of empirical study. An experiment was chosen as a method that assumes the allocation of significant factors which affect the results of the formation of a particular interaction model within the system «artist—painting—recipient». The investigation with recipients' poll aims to study cause-effect relationships in painting perception process, which assumes the practical modeling of the phenomenon and conditions of its course. Results. It is substantiated that the artistic strategy of two groups — narrative «Paryzka komuna» and non-narrative «Zhyvopysnyi zapovidnyk», has created a unique matrix of Ukrainian visuality, and the art code of paintings enables the revealing of patterns of historical development of National visual experience. Review and analysis of the specific features complex of modernist and postmodernist paintings allowed to identify the origins of four different perception models formation by recipients. Within the framework of the study there were critically comprehended known published painting perception algorithms. As a result of investigation, the informational painting perception system was formed and at the same time there was carried out its correlation with fundamental researches of Western scientists. In particular, they relate to perceptual, cognitive and informational aesthetic theories; achievements in neuroaesthetics and psychology of painting perception. Present model is an attempt to take into account the whole complex of components, parameters and context of communication process with the painting, as well as interpretive art models of corresponding period. Conclusions. Summarizing the results of the experiment, we can conclude that recipients from the range of artistic community clearly manifested the change of perception model — from nonclassical to post-nonclassical. It depended on presented painting — whether narrative artwork or «painting-opened-structure-object» was shown. The first one personifies the painters' works of «Paryzka komuna», and the second — artists' painting practice of «Zhyvopysnyi zapovidnyk». Also there were stated the individual manifestations of primordial and classical interaction painting models with their complexes of inherent specific features. Obtained results can form the support material for the evaluation of artworks — both within and outside the art institutions. Also the main theoretical positions can be relevant for artists in process of their work with the construction of further strategy, as well as for recipients interacting with painting
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Folgerø, Per Olav, Christer Johansson, and Linn Heidi Stokkedal. "The Superior Visual Perception Hypothesis: Neuroaesthetics of Cave Art." Behavioral Sciences 11, no. 6 (2021): 81. http://dx.doi.org/10.3390/bs11060081.
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Cave Art in the Upper Paleolithic presents a boost of creativity and visual thinking. What can explain these savant-like paintings? The normal brain function in modern man rarely supports the creation of highly detailed paintings, particularly the convincing representation of animal movement, without extensive training and access to modern technology. Differences in neuro-signaling and brain anatomy between modern and archaic Homo sapiens could also cause differences in perception. The brain of archaic Homo sapiens could perceive raw detailed information without using pre-established top-down concepts, as opposed to the common understanding of the normal modern non-savant brain driven by top-down control. Some ancient genes preserved in modern humans may be expressed in rare disorders. Researchers have compared Cave Art with art made by people with autism spectrum disorder. We propose that archaic primary consciousness, as opposed to modern secondary consciousness, included a savant-like perception with a superior richness of details compared to modern man. Modern people with high frequencies of Neanderthal genes, have notable anatomical features such as increased skull width in the occipital and parietal visual areas. We hypothesize that the anatomical differences are functional and may allow a different path to visual perception.
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Yongming, Zhu. "Neuroaesthetics Research in the Construction of Chinese Character Art." Leonardo 47, no. 3 (2014): 294–96. http://dx.doi.org/10.1162/leon_a_00785.
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The cognitive mechanism of the brain's visual nerves is the inherent biological basis for the artistic creation and aesthetics of Chinese characters, which has a profound and even decisive influence on the visual construction and cultural communication of Chinese character art. It is mainly manifested in the neural perception model of the forms of Chinese characters, the abstraction and integration instinct of biological visuals, the neural cognition of enhanced adaptability and the neural mirror of aesthetic psychological space, which is the source of formulating the rules of Chinese character art, which is a combination of font and meaning.
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Liu, Jianli, Edwin Lughofer, and Xianyi Zeng. "Toward Model Building for Visual Aesthetic Perception." Computational Intelligence and Neuroscience 2017 (2017): 1–13. http://dx.doi.org/10.1155/2017/1292801.
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Several models of visual aesthetic perception have been proposed in recent years. Such models have drawn on investigations into the neural underpinnings of visual aesthetics, utilizing neurophysiological techniques and brain imaging techniques including functional magnetic resonance imaging, magnetoencephalography, and electroencephalography. The neural mechanisms underlying the aesthetic perception of the visual arts have been explained from the perspectives of neuropsychology, brain and cognitive science, informatics, and statistics. Although corresponding models have been constructed, the majority of these models contain elements that are difficult to be simulated or quantified using simple mathematical functions. In this review, we discuss the hypotheses, conceptions, and structures of six typical models for human aesthetic appreciation in the visual domain: the neuropsychological, information processing, mirror, quartet, and two hierarchical feed-forward layered models. Additionally, the neural foundation of aesthetic perception, appreciation, or judgement for each model is summarized. The development of a unified framework for the neurobiological mechanisms underlying the aesthetic perception of visual art and the validation of this framework via mathematical simulation is an interesting challenge in neuroaesthetics research. This review aims to provide information regarding the most promising proposals for bridging the gap between visual information processing and brain activity involved in aesthetic appreciation.
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Łynnik, Maria. "Artysta — neurobiolog? Malarskie manipulacje procesami widzenia." Z Teorii i Praktyki Dydaktycznej Języka Polskiego 29 (October 6, 2020): 57–70. http://dx.doi.org/10.31261/tpdjp.2020.29.04.
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Art and the notion of beauty related thereto are both disciplines and states which are quite unobvious and thereby requiring us to ask the question: Why is it that human beings have in their minds an inherent need to witness the beauty along with — resultant — need to create and receive art? The author of the text — by devising some neurobiological tools — attempts to elicit relative laws of beauty reception, and simultaneously she utilises the instruments of neuroaesthetics, which is a field of science that investigates the impact of art on processes taking place in the human brain. She explores, among other things, mechanisms put to use, consciously or otherwise, by artists in order to make their works a peculiar stimulus. The author describes a series of “tricks” used by visual arts creators who model the particular ways the visual perception processes function.
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Leymarie, Frederic Fol, and Prashant Aparajeya. "Medialness and the Perception of Visual Art." Art and Perception 5, no. 2 (2017): 169–232. http://dx.doi.org/10.1163/22134913-00002064.
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In this article we explore the practical use of medialness informed by perception studies as a representation and processing layer for describing a class of works of visual art. Our focus is towards the description of 2D objects in visual art, such as found in drawings, paintings, calligraphy, graffiti writing, where approximate boundaries or lines delimit regions associated to recognizable objects or their constitutive parts. We motivate this exploration on the one hand by considering how ideas emerging from the visual arts, cartoon animation and general drawing practice point towards the likely importance of medialness in guiding the interaction of the traditionally trained artist with the artifact. On the other hand, we also consider recent studies and results in cognitive science which point in similar directions in emphasizing the likely importance of medialness, an extension of the abstract mathematical representation known as ‘medial axis’ or ‘Voronoi graphs’, as a core feature used by humans in perceiving shapes in static or dynamic scenarios. We illustrate the use of medialness in computations performed with finished artworks as well as artworks in the process of being created, modified, or evolved through iterations. Such computations may be used to guide an artificial arm in duplicating the human creative performance or used to study in greater depth the finished artworks. Our implementations represent a prototyping of such applications of computing to art analysis and creation and remain exploratory. Our method also provides a possible framework to compare similar artworks or to study iterations in the process of producing a final preferred depiction, as selected by the artist.
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Liu, Jianli, Edwin Lughofer, Xianyi Zeng, and Zhengxin Li. "The Power of Visual Texture in Aesthetic Perception: An Exploration of the Predictability of Perceived Aesthetic Emotions." Computational Intelligence and Neuroscience 2018 (September 9, 2018): 1–8. http://dx.doi.org/10.1155/2018/1812980.
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How to interpret the relationship between the low-level features, such as some statistical characteristics of color and texture, and the high-level aesthetic properties, such as warm or cold, soft or hard, has been a hot research topic of neuroaesthetics. Contrary to the black-box method widely used in the fields of machine learning and pattern recognition, we build a white-box model with the hierarchical feed-forward structure inspired by neurobiological mechanisms underlying the aesthetic perception of visual art. In the experiment, the aesthetic judgments for 8 pairs of aesthetic antonyms are carried out for a set of 151 visual textures. For each visual texture, 106 low-level features are extracted. Then, ten more useful and effective features are selected through neighborhood component analysis to reduce information redundancy and control the complexity of the model. Finally, model building of the beauty appreciation of visual textures using multiple linear or nonlinear regression methods is detailed. Compared with our previous work, a more robust feature selection algorithm, neighborhood component analysis, is used to reduce information redundancy and control computation complexity of the model. Some nonlinear models are also adopted and achieved higher prediction accuracy when compared with the previous linear models. Additionally, the selection strategy of aesthetic antonyms and the selection standards of the core set of them are also explained. This research also suggests that the aesthetic perception and appreciation of visual textures can be predictable based on the computed low-level features.
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Benjamin, Garfield. "Indistinguishable from Magic: Perception, Knowledge, Technology, Art." Leonardo 53, no. 5 (2020): 510–14. http://dx.doi.org/10.1162/leon_a_01739.
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The term magic has long been associated with both technology and art. Whether an illusion performed on stage or the search for the supernatural, magic is concerned with changing either reality itself or our perception of it. Each new technology takes on a magical role by increasing humans' power to manipulate the world around them. Similarly, magical practices are often labeled arts, and the manipulation of our perceptions by artists often creates quasi-magical experiences. Four approaches to magic in relation to digital art practice—illusionist, alchemist, necromancer and sorcerer—offer a mode of understanding the manipulation of perceptual reality by artists using digital technologies. The framework will then be applied to five such practitioners—Pascal Dombis, Anne-Sarah Le Meur, Antoine Schmitt, Dmitry Morozov and Zaven Paré—who demonstrate the quest for the unknown and the manipulation of knowledge to create a new reality.
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Keifenheim, Barbara. "Concepts of perception, visual practice, and pattern art among the Cashinahua Indians (Peruvian Amazon area)." Visual Anthropology 12, no. 1 (1999): 27–48. http://dx.doi.org/10.1080/08949468.1999.9966766.
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TAYYEBI, Seyed Farhad. "THREE REVOLUTIONARY CHANGES IN REPRESENTATION: THEORETICAL SUMMARIES, PRACTICAL TOOLS, AND VISUAL EXAMPLES VIA KANYON SHOPPING MALL." Journal of Arts 3, no. 3 (2020): 179–88. http://dx.doi.org/10.31566/arts.3.013.
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Although many scholars have discursively explored the evolution of representation in fine art throughout the ages, the revolutionary changes of the term are not well summarized nor illustrated in architecture. This paper, after exploring the radical changes of representation, reflects the revolutions of representation concerning the place of representation in the perception process of art, as well as the method of acquiring the representation both in discourse and practice. Then, a building tangibly illustrates the place of representation in architecture. The study shows representation has experienced three revolutionary interpretations, concentrating on mimesis, experience, and imagination. Each stage penetrates the practice of art via imitation, resemblance, and denotation respectively. Finally, the paper by illustrating the existence of the three modes of representation in Kanyon Shopping Mall, not only provides a better understanding of representation but also shows how applying representation in architecture can enable the users/observers to interact with the building forms and provides opportunity to elevate the perception of a building to a higher aesthetic level of experience.
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Chien, Jui-Pi. "Spectatorship as a play on moral ambiguities: Neuro-evolutionary semiotic approach to lowly arousal emotions." Semiotica 2017, no. 215 (2017): 325–39. http://dx.doi.org/10.1515/sem-2016-0071.
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AbstractThis study seeks to outline a neuro-evolutionary semiotic model for our perception and interpretation of moral ambiguities in the wake of neuroaesthetics. This model is actually an integration of the Saussurean network of differences and the recently discovered default mode network: it serves on the one hand to rectify automatic responses generated by the mirror system in real-life situations, and on the other, to expand the applicability of the sign system for our appreciation of eerie or scary details found in the arts. Such a framework functions not only to blur binary oppositions set between high and lowly arousal emotions, but also to enhance our skills and confidence in dealing with uncertainties and oddities found in the arts. As opposed to experimental schemes devised in neuroaesthetics, which quantify our instant ratings of specific audial and visual inputs, the neuro-evolutionary model allows us some freedom and flexibility to re-evaluate our perceptions of motives concealed in characters’ behaviors. This study therefore enlarges on a qualitative approach to conceptualizing spectatorship in the world of art. We as intelligent and self-governing spectators should manage to align with odd characters’ positions so as to regain meaning, understanding, and harmony from our dealings. By way of comparing and contrasting two film characters’ dealings with valuable paintings and endearing families, the author argues for the fruitful functioning of the neuro-evolutionary sign system in revising our biases against seemingly immoral characters. It is observed that the sign system is characterized with the capacity of multiplying meaningful connections between characters’ motives, choices, and actions. It enables us to sort out and to appreciate strings of actions that enlarge on characters’ persistence and consistence of achieving certain goals. All in all, our choice of engaging with the daunting and the disconcerting fosters not only our pleasure and intelligence of viewing, but also the survival of odd characters in our community.
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Cervone, Einor K. "Art | Adrift." Archives of Asian Art 69, no. 2 (2019): 155–79. http://dx.doi.org/10.1215/00666637-7719404.
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Abstract A floating gallery, a drifting studio where sprawling waterscapes set off artwork on display and inspire original creation—the painting-and-calligraphy boat (shuhua chuan) may sound like a postmodern experimental installation. For its Ming patrons, however, it was nothing of the sort. Traceable to Mi Fu's floating gallery-cum-studio, the “art boat” was perceived as a beacon of cultural orthodoxy by generations of aesthetes like Mi Wanzhong, Dong Qichang, and Li Rihua. A nod to antiquity, it situated them in the continuum of long-standing tradition. The practice reached its acme in the mid- and late Ming, against currents of growing social mobility and dynamic imbalance that gave rise to a culture of connoisseurship as part of a fierce competition for social distinction. This paper examines the lure of waterborne art connoisseurship as cultural capital. Unique to the art boat is the act of collecting pieces for display and appraisal—an act akin to modern curatorial discernment. The selection of works that accompanied the patron onboard became an expressive medium. The painting-and-calligraphy boat also privileged a sense of fortuity. Chance encounters and spontaneous inspiration complemented the boats' movement along their free-form routes. Yet, the most prominent feature distinguishing the art boat was its visibility. Open panoramas of outstretched waterscape conjured a new creative avenue, a self-aestheticizing of both participant and vessel. This paper extricates the painting-and-calligraphy boat from its perception as a passing curiosity and shows it to be an enduring phenomenon that permeated premodern Jiangnan—the choice of the waterscape as a space of creation and recreation.
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Allen, Jess. "Tracktivism: Eco-activist walking art as expanded choreography in rural landscape." Choreographic Practices 10, no. 2 (2019): 175–95. http://dx.doi.org/10.1386/chor_00002_1.
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Abstract This article offers a reflexive account of my journey from dance into walking art through a methodological examination of tracktivism: the rural, eco-activist, pedestrian performance practice I have developed over the past eight years. My dancer's perception of walking art in the sculptural tradition had always been as choreography on an expanded scale: bringing attention to spatial patterns in landscape through the 'stylus' of the walking body. Here I examine the ways in which the growing oeuvre of tracktivist works have employed this choreographic device to (re)frame walking art as eco-activist performance. I consider how an art walk may be shaped in such a way as to foreground the spatial nature of ecological dis/connection in working agricultural landscapes, giving examples from my practice. I also propose that as patterns or routes expressly designed to be walked, the performer's material body becomes a 'measurant' to calibrate human scale against planetary scale. Thus the practice might be perceived to function as emancipated eco-activist choreography that offers a means of revealing and embracing our ecological enmeshment with/in complex more-than-human flows.
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Makarova, Ksenia. "Figure-Background Relations in Black and White Illustration as a Section of Teaching Book Art on the Art-Graphic Faculty of MSPU." KANT 36, no. 3 (2020): 308–29. http://dx.doi.org/10.24923/2222-243x.2020-36.58.
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The problem with the study below is contradiction between the need to introduce the young generation to the culture of books as an aesthetic phenomenon and the lack of development of methods for studying the composition of illustrations in art and pedagogical education. The research methods used were the study of literature on the given topic and the practice of teaching the art of the book at the AGF MPSU for ten years. During the theoretical part of the study we examined the perception of black and white, laws of visual perception (similarity, neighborhood, closure, continuity, inertia and primary forms) and features of construction of the relations "figure - ground" in one-figure, two-figure and multi-figure compositions. The result of the practical part of the study was the system of compositional exercises on the theme ""figure - background relations" in black and white illustration". The system of exercises below is not final and can be expanded and refined by the author during further scientific and pedagogical activities.
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Welton, Martin. "Against Inclusivity: a Happy Heresy about Theory and Practice." New Theatre Quarterly 19, no. 4 (2003): 347–51. http://dx.doi.org/10.1017/s0266464x0300023x.
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Should we suffer boredom in the theatre so long as it can be properly theorized? Dare performance stand alone, without hermeneutical crutches? What are the practicalities of practice-based research? And should we be scared of scare quotes? These are some of the questions asked by Martin Welton, tongue not so much in cheek as brazenly challenging some of the new orthodoxies of theatre studies. Martin Welton is a lecturer in Performance in the School of English and Drama at Queen Mary, University of London. His research interests include perception and performance, theatre and performance theory, actor training systems, and the South Indian martial art kalarippayattu. He also works as a performer, most recently with Sound and Fury Theatre Company, Emilyn Claid, and with his own company Darwin's Beard.
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Gnamuš, Nadja. "From Art Object to Text: Language and Perception in Early Conceptual Practices." Ars & Humanitas 13, no. 1 (2019): 302–17. http://dx.doi.org/10.4312/ah.13.1.302-317.
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Anglo-Saxon conceptual practices emerging in the 1960s were not only a reaction against modernist discourse, but also the final episode in its search for self-reflection, self-criticism and inquiry into the nature and status of art. The proponents of conceptual art rejected materialist, subjective and expressive theories of the artistic medium and replaced them with idea and thinking as the key principles of art production, thereby making the linguistic, sociological, philosophical, cultural and political context of an artwork important. Ideas rising within this framework offered a form of intellectual self-reflection and at the same time proposed new concepts and possibilities for art production. In art practices of early conceptualism the idea of art was an important topic, in which art practice and art theory were closely intertwined. The relationship between words and images was in this context of paramount importance. Language was a significant trajectory in changing the role and status of art, engendering the shift from an autonomous, aesthetic art object to a textual basis of art, whereby the theory of art itself became considered an artwork. Text was no longer the interpretative support of visual code (image), explaining its meaning, but rather the constitutive element of the artwork. Conceptualism believed that art was first and foremost an intellectual activity, in which it was more important to invent new meanings than new forms. Language thus became an ideal means for turning the focus from formal analysis to the context and discursive formation of artwork.
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Gnamuš, Nadja. "From Art Object to Text: Language and Perception in Early Conceptual Practices." Ars & Humanitas 13, no. 1 (2019): 302–17. http://dx.doi.org/10.4312/ars.13.1.302-317.
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Anglo-Saxon conceptual practices emerging in the 1960s were not only a reaction against modernist discourse, but also the final episode in its search for self-reflection, self-criticism and inquiry into the nature and status of art. The proponents of conceptual art rejected materialist, subjective and expressive theories of the artistic medium and replaced them with idea and thinking as the key principles of art production, thereby making the linguistic, sociological, philosophical, cultural and political context of an artwork important. Ideas rising within this framework offered a form of intellectual self-reflection and at the same time proposed new concepts and possibilities for art production. In art practices of early conceptualism the idea of art was an important topic, in which art practice and art theory were closely intertwined. The relationship between words and images was in this context of paramount importance. Language was a significant trajectory in changing the role and status of art, engendering the shift from an autonomous, aesthetic art object to a textual basis of art, whereby the theory of art itself became considered an artwork. Text was no longer the interpretative support of visual code (image), explaining its meaning, but rather the constitutive element of the artwork. Conceptualism believed that art was first and foremost an intellectual activity, in which it was more important to invent new meanings than new forms. Language thus became an ideal means for turning the focus from formal analysis to the context and discursive formation of artwork.
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Wu, Jiayue. "Promoting Contemplative Culture through Media Arts." Multimodal Technologies and Interaction 3, no. 2 (2019): 35. http://dx.doi.org/10.3390/mti3020035.
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This paper presents the practice of designing mediation technologies as artistic tools to expand the creative repertoire to promote contemplative cultural practice. Three art–science collaborations—Mandala, Imagining the Universe, and Resonance of the Heart—are elaborated on as proof-of-concept case studies. Scientifically, the empirical research examines the mappings from (bodily) action to (sound/visual) perception in technology-mediated performing art. Theoretically, the author synthesizes media arts practices on a level of defining general design principles and post-human artistic identities. Technically, the author implements machine learning techniques, digital audio/visual signal processing, and sensing technology to explore post-human artistic identities and give voice to underrepresented groups. Realized by a group of multinational media artists, computer engineers, audio engineers, and cognitive neuroscientists, this work preserves, promotes, and further explores contemplative culture with emerging technologies.
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Strickland, Christopher M. "The Way of the Artist Educator paradigm: Fusing artistic studio practice and teaching pedagogy." International Journal of Education Through Art 16, no. 2 (2020): 227–44. http://dx.doi.org/10.1386/eta_00028_1.
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The purpose of this autoethnographic study is to examine the experiences of visual arts educators who identify themselves as Artist Educators. In particular, this article investigates how these Artist Educators perceive the fusion of their artistic studio practice with their teaching pedagogy, and how the perception defines their identity and impacts their creative and classroom practices. This study involved a focus group of six individuals, including the researcher. All the participants were practising artists, currently employed or recently retired K-12 visual arts educators certified in the states of Maine or New Hampshire, and members of the Kittery Art Association. This study used a combination of interviews and an arts-based method for data collection. All the data were analyzed and resulted in seven findings that culminated in the Way of the Artist Educator ‐ an alternative paradigm for a quality and holistic twenty-first-century visual arts education. This article presents the paradigm, discusses the study’s implications and offers suggestions for future research.
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Nowell, April. "Learning to See and Seeing to Learn: Children, Communities of Practice and Pleistocene Visual Cultures." Cambridge Archaeological Journal 25, no. 4 (2015): 889–99. http://dx.doi.org/10.1017/s0959774315000360.
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During the Late Pleistocene, children in southwest France and northern Spain grew up engaging with the world around them through the lenses of locally and historically situated pictorial cultures. This particular period and region is not the site of the earliest example of symbolic behaviour, nor is it the only example of the production of imagery during the Pleistocene but the rich record of Franco-Cantabrian visual material culture provides a unique opportunity to explore how children learned to decode and transform the world around them through imagery. In this paper, focusing on parietal art, I consider the biological, cognitive and social underpinnings of the uniquely human ability to move between two and three dimensional worlds and to perceive a fourth dimension—time—through the perception of motion from still images. These abilities, which can be traced through the archaeological record, allowed children and the adults they became new ways of imagining and acting in the world.
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Gupta, Jiya. "ART ACTIVISM: NOT JUST VISUAL APPEAL BUT A CATALYST FOR SOCIAL CHANGE." International Journal of Advanced Research 9, no. 08 (2021): 1021–46. http://dx.doi.org/10.21474/ijar01/13356.
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As children, we are always taught to look at something in the world using the 3 Ws- What, When, and Why? So, when the researcher had the opportunity to explore the current role of art in shaping society, she delved deep into it. She questioned what art portrayed to individuals, why people were subconsciously influenced by the art around them, and when was the right time to use this creative tool to make an impact on society. She was pleasantly surprised to learn that even the primal forms of art in history had played an important role in social movements like the outbreak of feminism and political propaganda like war. She wants to explore the positive and negative sway art has over its audience. On an optimistic note, the researcher wants to explore a new model that can revolutionize the scene of social movements – art activism. Artistic Activism is a dynamic practice combining the creative power of the arts to move us emotionally with the strategic planning of activism necessary to bring about social change. The goal of activism is Effect, and the goal of art is Affect- but can these goals intertwine to create something revolutionary? On the pessimistic note, she wants to explore how role stereotypes and the inequality depicted -not only in historic but in also contemporary art- manipulates our perception of the world and contributes to those suffocating labels in society. Can the mere subject of an artistic piece encourage our behaviour towards a certain aspect in society? Through a journey exploring the bane and boon debate of arts temporal power, the researcher hopes to establish its undeniable impact on both society and its individuals.
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Lola, Galina N., and Tatiana I. Aleksandrova. "Time Code in Modern Art: Discoursive Analysis of Temporal Art-Projects." Vestnik of Saint Petersburg University. Arts 11, no. 1 (2021): 150–66. http://dx.doi.org/10.21638/spbu15.2021.109.
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The article explores the influence of the concept of time on modern art practices, as well as the impact of digital media on the ability of art to anticipate the future. The methodology of discourse analysis is used as a tool to reveal temporal characteristics and the communicative potential of relevant art projects. The digital age creates a simultaneous world in which one can perceive the future by being deeply involved in the present moment. Contemporary artists have the ability to grasp changes hidden from the majority, and to formalize them in works of art. The simultaneous perception of time becomes the clue to the development of this ability, while the concept of time becomes the clue to understanding the message contained in the work of art. As a result, the task of the researcher is to discover the temporal dimensions of the relevant art projects and to examine the nature of interaction between the viewer and the work of art. Taking this into consideration, special attention should be given to the method of involving the viewer in the semantic space of the artwork. The subject of analysis is the communicative model of the artwork, which is presented as a flexible, mobile semantic structure that activates the viewer’s imagination and his ability to improvise. The methodological framework for understanding the communicative model was the neo‐pragmatism theory of social action and practice-oriented social semiotics. The interpretation of the work of art as a communicative event actualizes the discourse analysis that allows us to perceive the artwork in its dynamics and to explore its’ temporal dimensions. At the same time, the discourse analysis is represented not only as an effective research tool, but also as a resource that helps the artist, the researcher and the viewer to develop a flexible and conceptual mindset.
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LaBelle, Brandon. "Sharing Architecture: Space, Time and the Aesthetics of Pressure." Journal of Visual Culture 10, no. 2 (2011): 177–88. http://dx.doi.org/10.1177/1470412911402889.
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Exploring acoustic space, this article aims to supplement the practice of acoustic design by exposing other perspectives on sound’s relationship to space. Following Paul Carter’s notion of sonic ambiguity, the author contends that the idealized sonic image of acoustics eliminates the potentiality inherent to sound and listening as forces of relational intensity and differentiation. To draw out this tension, the article examines alternative forms of acoustics as appearing within the practice of sound art. Through eccentric and speculative design, sound art comes to demonstrate a vital addition to notions of acoustics; by creating heightened listening experiences that exceed the traditional concepts of fidelity, it cultivates forms of noise by integrating extreme volume and frequency, building fantastical architectures for their diffusion, and incorporating a dynamic understanding of psychoacoustics and perception. Through such elements, sound and space are brought together and deliver other forms of acoustical experience while hinting at potentialities for their application in environments outside the art situation. Works by such artists as Tao G. Vrhovec Sambolec and John Wynne provide a vibrant terrain for registering how sound comes to perform as spatial material.
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Damisch, Hubert. "Staking the Subject: The Self's Own Gamble with Art." October 167 (February 2019): 149–70. http://dx.doi.org/10.1162/octo_a_00340.
Full textAbstract:
Devoted to the Freud-Signorelli case, this study by French art-historian/philosopher Hubert Damisch offers an in-depth analysis of “the implication of the subject in the various dimensions of perception, remembering, analysis, and interpretation.” To better reflect the complex relationships between art, psychoanalysis, and interpretation, Damisch's commentaries take the form of a diary. By discussing his comings and goings between the 1960s and 1990s and by making an effort to remember his own life and practice, Damisch builds a dispositif where Freud's analyses of the mechanisms of oblivion, Signorelli's painting of “the damned,” Dante's Inferno, and Primo Levi's testimony on the Shoah reverberate with each other. This study, which is one of the chapters of the unfinished book La machine d'Orvieto, was first published in French in Y voir mieux, y regarder de plus près (Rue d'Ulm, 2010).
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Kiepuszewski, Łukasz. "Trzy kroki w stronę obrazów. Pierre Bonnard i percepcyjne opóźnienie." Artium Quaestiones, no. 27 (September 8, 2018): 67–92. http://dx.doi.org/10.14746/aq.2016.27.4.
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The essay is an analysis of three interpretations of Pierre Bonnard’s paintings offered by Jean Clair, John Elderfield, and Yves-Alain Bois. Their approaches are crucial in the context of the revaluation Bonnard’s works and his place in the history of modern painting, which has been continuing since the 1980s. Today’s scholars have been interested mostly in his late works from 1920-1947. At that time the artist created a multidimensional pictorial synthesis which addressed the most advanced dilemmas which appeared in the first half of the 20th century. The critical opinions analyzed in the essay, referring to physiology and the psychology of perception, the cognitive conditions of visual perception, and specific philosophical traditions, stem from individual visual experience and demonstrate significant tensions. Taking the painting as a starting point triggers differences in interpretation not just at the level of theoretical discourse, but in respect to visualization itself. Bonnard’s works significantly program the process of visual perception – grasping the changing rhythm of relation between the center and periphery and moving toward fixations scattered in the visual field. The specific composition of paintings makes the spectator deconcentrate; it can be grasped in an act of perception which extends in time. Such “delay” of perception means that Bonnard’s paintings are a challenge to the gestalt psychology which prevails in the analytical practice of art history. The unique quality of Bonnard’s works, based on the coexistence of the rhythms of organization and disorder,shows no superior coherence of the gestalt. They establish an “inconclusive” relation between the part and the whole, which results in continuing deference and delay of the integration of motifs and elements of the pictorial field. The discussed episode in Bonnard’s art’s reception confirms a belief that “he is not a painter for those in a hurry. The phenomenon of the perceptive delay seems to be significantly connected with the delay in discovering such qualities by art historians.
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Chevalier, Cécile, and Chris Kiefer. "What Does Augmented Reality Mean as a Medium of Expression for Computational Artists?" Leonardo 53, no. 3 (2020): 263–67. http://dx.doi.org/10.1162/leon_a_01740.
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As augmented reality (AR) quickly evolves with new technological practice, there is a growing need to question and reevaluate its potential as a medium for creative expression. The authors discuss AR within computational art, framed within AR as a medium, AR aesthetics and applications. The Forum for Augmented Reality Immersive Instruments (ARImI), a two-day event on AR, highlights both possibilities and fundamental concerns for continuing artworks in this field, including visual bias, sensory modalities, interactivity and performativity. The authors offer a new AR definition as real-time computationally mediated perception.
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Solovtsova, I. A., and A. I. Shipitsyn. "FEATURES OF THE PERCEPTION OF CONTEMPORARY ART BY A SCHOOL TEACHER: ASSESSMENTS, JUDGMENTS, LEVEL OF COMPETENCE." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 23, no. 76 (2021): 57–63. http://dx.doi.org/10.37313/2413-9645-2021-23-76-57-63.
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The phenomenon of contemporary art is considered as the content basis of education. The reasons for the contradiction between the educational potential of works of contemporary art and their rare use by teachers for solving educational tasks are determined. The results of qualitative and quantitative analysis of questionnaire materials received from 227 teachers of General education organizations are presented. The article clarifies the concept of contemporary art as the art of the second half of the twentieth century and the present day, aimed at the study and interpretation of a complex, rapidly changing world using a variety of artistic and expressive means and languages, based on philosophical, psychological, socio-cultural concepts and new technologies; having the attributes of experimentation, non-canonicity, topicality, innovation, critical content. The prospects of introducing the results of the study into educational practice by increasing the level of knowledge of teachers about contemporary art are shown.The subject of the article - contemporary art as a meaningful basis for education. The main theme - to identify the possibilities of contemporary art in the education of schoolchildren. The work Purpose - to analyze the results of the survey, which allow us to judge the professional and personal position of teachers in relation to contemporary art, the level of their competence in the field of contemporary art and culture. Methodology of the work: qualitative analysis-hermeneutical and content analysis of visual material when working with works of contemporary art, interpretive and comparative analysis of respondents' assessments and judgments about contemporary art and its educational potential; quantitative method-statistical analysis of empirical data. Results: the analysis of examples of works of contemporary art used to solve educational and / or educational tasks revealed that teachers prefer to use works of art created at the end of the XX – first decades of the XXI century, continuing the classical tradition, as well as the most fashionable and relevant examples of mass culture in their work. Non-classical works of art are used by 10.6% of respondents. Scope of results is the educational space of the school and pedagogical University. Conclusions. Teachers are open to new experiences and are interested in using works of contemporary art to solve educational problems.
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Rycroft, Simon. "The Nature of Op Art: Bridget Riley and the Art of Nonrepresentation." Environment and Planning D: Society and Space 23, no. 3 (2005): 351–71. http://dx.doi.org/10.1068/d54j.
Full textAbstract:
The monochrome paintings of the British Op artist Bridget Riley produced between 1960 and 1965, in common with a number of experimental arts and media practices of the 1960s, were characterised by a drift away from traditional representational techniques towards what are now described as nonrepresentational practices. The dynamics of the Op Art aesthetic and the critical writings that surround it bear striking similarities to much recent work on nonrepresentational thought. Based upon an engagement with Riley's early work, and specifically with the perception and understanding of nature it engendered, an argument can be made that suggests that, despite claims to the contrary, Riley was engaged in a form of representational practice that rendered a new and fashionable understanding of cosmic nature. The multidimensional nature evoked in her aesthetic was designed to be experienced by the viewer in a precognitive, embodied fashion. In this there are strong echoes with the call made by nonrepresentational theorists who operationalise the same kind of cosmology to develop an evocative, creative account of the world. Both Op Art and nonrepresentational thought seem to build upon a shift in the representational register that occurred during the immediate postwar period, one which prompted representational practices which attempted to subjectify rather than objectify, to evoke instability and multidimensionality, and to exercise not only visual, oral, and cognitive ways of knowing, but also the precognitive and the haptic. The complex corelations between representation and nonrepresentation are apparent here, suggesting that it is problematic to emphasise one side of the duality over the other.
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Treadaway, Cathy. "Materiality, Memory and Imagination: Using Empathy to Research Creativity." Leonardo 42, no. 3 (2009): 231–37. http://dx.doi.org/10.1162/leon.2009.42.3.231.
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Our perception of the physical world is informed by our bodily sensory experiences. This rich source of information stimulates the brain and is remembered and remade in the creative processes that feed our imagination. How does experience of materiality shape our creative use of digital imaging tools, and how does the technology influence creative practice? This article contends that creative processes are heavily reliant on our memories of physical experience and that tools to support creative digital practice could be enhanced to utilize the rich multi-sensory stimulation it provides. This paper presents collaborative art-making that has been used to investigate issues arising from case study research, enabling the author to empathically experience the artist's creative processes and to provide insight into how digital tools can support creative practice.
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Thomas, Paul. "The Transdisciplinary Cloud Curriculum." Leonardo 48, no. 5 (2015): 474–75. http://dx.doi.org/10.1162/leon_a_01070.
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In this paper, the author looks at the evidence from the international Leonardo Education and Arts Forum on art/science cloud curriculum workshops he instigated in Copenhagen and Prague in 2012. These workshops discussed the aims of affecting a shift in perception toward a foundational understanding of new paradigms for research and learning that challenge and transcend disciplinary boundaries. The curriculum privileged a metacognitive interrogation of content and (re)visioning of traditional disciplinary research methodologies using a syncretic integration of heuristic and practice-based inquiry.
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Puspitasari, Dyah Gayatri, and James Darmawan. "Modifikasi Pembelajaran Desain Dasar (Nirmana) bagi Program Studi Animasi." Humaniora 5, no. 2 (2014): 685. http://dx.doi.org/10.21512/humaniora.v5i2.3124.
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Nirmana (basic design) is a compulsory major for School of Design-Binus University student. Basically, nirmana related with perception of the sight sense (visual) through organizing sensation components which has related pattern or similarity so that becomes one unity that can be appreciated. Nirmana course prepares the student to have sharpness and sensitivity to visual elements that is the core of the disciplines from art and design, along with its branches. In practice, curriculum Nirmana may not necessarily be applied to all courses. On course of study animation, adjustment is needed, and even some modification to achieve the purpose of learning that is based on the vision course of study. This course study of animation has unique characteristics and slightly different content from other courses, where visual is not the only aspect, but inherent with motion, audio and storytelling. This research aims to discuss the formulation of learning strategies for Animation Courses so it can run optimally.
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Yun, Ning. "Research on Augmented Reality Experience Design of Tujia Brocade Products Based on Emotion Cognition." E3S Web of Conferences 257 (2021): 03062. http://dx.doi.org/10.1051/e3sconf/202125703062.
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Augmented reality technology is an extension of virtual reality. Voice input and output devices, image input and image display devices, touch-tap gesture action input and visual tracking devices are used in various computer systems to improve computer efficiency and human-computer interaction accuracy, which can improve the interactivity and user experience of augmented reality systems. Augmented reality technology superimposes the virtual world and the real world, and its final interactive operation has an enhanced effect on the senses of the participants. Augmented reality has been able to be used more maturely in many fields, and its use in the art field has become a new direction for designers to explore art and practice. This study explores the user’s emotional perception process of Tujia brocade products from the theoretical level, constructs an augmented reality experience model applied to Tujia brocade, and proposes a design process for the implementation of augmented reality.
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Westermann, Claudia. "Poiesis, ecology and embodied cognition." Technoetic Arts 18, no. 1 (2020): 19–29. http://dx.doi.org/10.1386/tear_00023_1.
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Since René Descartes famously separated the concepts of body and mind in the seventeenth century, western philosophy and theory have struggled to conceptualize the interconnectedness of minds, bodies, environments and cultures. While environmental psychology and the cognitive sciences have shown that spatial perception is ‘embodied’ and depends on the aforementioned concepts’ interconnectedness, architectural design practice, for example, has rarely incorporated these insights. The article presents research on the epistemological foundations that frame the communication between design theory and practice and juxtaposes it with scientific research on embodied experience. It further suggests that Asian aesthetics, with its long history in conceiving relations and art as interactive, could create a bridge between recent scientific insights and design practice. The article links Asian aesthetics to a discourse on ecologies in the post-Anthropocene, in dialogue with contemporary conceptions of time. It outlines an approach to the interconnectedness of minds, bodies, environments, the sciences and cultures, in favour of a future that is governed by creative wisdom rather than ‘smart’ efficiency.
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Lukicheva, Polina. "Envisioning the World Within or Without Limits: on Representation and Creativity in the Aesthetics of 17th Century China." Asiatische Studien - Études Asiatiques 74, no. 4 (2020): 1081–101. http://dx.doi.org/10.1515/asia-2021-0001.
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Abstract This essay examines a number of statements on painting and visual perception by Chinese literati artists of the late Ming – early Qing periods. It argues that the approaches to pictorial representation and creativity entailed in these statements reveal a considerable impact of Buddhist theories of consciousness. In the theories analyzed, pictorial representation is discussed in terms of ways and modes of how the mind relates to the world. As will be demonstrated, the function of expressing cognitive organization in representation is given more prominence than the function of rendering an external reality. The view of pictorial representation as being essentially what the mind produces in its relation to the world provides a basis for the assumption of a fundamental affinity between the creation of an image and the process how phenomenal reality unfolds by virtue of cognitive operations. This assumption seems to broadly underpin the painting theories discussed. And it is this assumption that provides a clue how and why the literati artists adopt Buddhist theories of cognition to the understanding of art. In the last section of the essay, we turn to the sources which cast still another perspective on artistic practice, namely a practice which captures a single moment of pure direct perception.
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Bruera, Eduardo, Aimee Elizabeth Anderson, Janet L. Williams, and Diane D. Liu. "A survey of palliative care clinicians’ weekly self-care practices." Journal of Clinical Oncology 37, no. 31_suppl (2019): 59. http://dx.doi.org/10.1200/jco.2019.37.31_suppl.59.
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59 Background: Recent evidence suggests that clinician burnout exceeds the national average in the Palliative Care workforce. MD Anderson’s Palliative Care service has therefore implemented measures to reduce stress and burnout and support engagement and health, including a 13-item, evidence-based Palliative Clinician Self Care Checklist. To improve the checklist, we conducted a survey to understand clinicians’ perception of the list and its items, and the frequency with which clinicians were able to achieve each item. Methods: The survey was administered electronically to Palliative Care medical professionals, including physicians, advanced practice providers, and counsellors. We collected demographic information in addition to survey items. We asked respondents to rate their perception of the usefulness of each of the 13 items, and how often they achieved each item. We also asked participants to rate their satisfaction with their professional life, and to respond to questions related to burnout. Results: The response rate to the survey was 32/39 providers contacted (82.0%), including 15 physicians, 10 APPs, and 7 counsellors. Items most often rated as useful or very useful were meeting with friends (93.7%), achieving a personal self-care goal (90.7%), and meeting with family (90.3%). Items least often rated as useful or very useful were visual arts (46.9%), reading literature (59.4%), and art, movies, or theater (65.7%). Items most reported as achieved most weeks or every week were meeting with friends (84.4%), achieving a personalized self-care goal (81%), and avoiding a personal item of maladaptive coping (81%). Visual arts (28.1%), art, movies, or theater (37.6%), and literature (43.8%) were least reported to be achieved most weeks or every week. All respondents reported some degree of satisfaction with their professional life. However, 25% of respondents reported feeling burned out once a week or more. Conclusions: While checklist items that respondents achieved least frequently were those that they perceived as least useful, some items perceived as most useful were not achieved as frequently. Future studies will focus on measures to facilitate providers’ ability to practice and access self-care measures.
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LAVRENOVA, OLGA A. "“THE SEAMY SIDE OF THE CITY”: MARGINAL LANDSCAPES AND CONTEMPORARY VISUAL CULTURE." ART AND SCIENCE OF TELEVISION 17, no. 2 (2021): 61–117. http://dx.doi.org/10.30628/1994-9529-2021-17.2-61-117.
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The topic of people thrown to the sidelines of life is considered in a double frame—in the context of the way the urban space is arranged and in the context of modern visual culture (feature films, video and photo blogs, videos on popular YouTube channels). The most hyped-up type of marginal landscape in modern media is slums. The otherness of such spaces has always been a subject of interest and curiosity, for “gazing”—interpretation, perception and entertainment. In modern mass culture, the “location” of the global south slums is especially trendy. In such exterior, hyper-popular feature films such as Slumdog Millionaire have been shot, causing a new cultural phenomenon—mass slum tourism. This phenomenon seems to be ambiguous from an ethical point of view; but from the point of view of visual culture, it is voyeurism brought to the level of an art and everyday life practice. The second type of marginal urban landscapes is local “invasion” into the decent and institutionalized city space. This art form serves as a “location” for a psychological drama of superfluous people. Features of national identity are most clearly manifested on its seamy side rather than anywhere else. Japanese townships of the homeless, incorporated into central and well-to-do areas, are no strangers to order and aesthetics; while Russian realities—chaos, departure from norms and underground—are completely opposite. Classic films devoted to this issue—Dodes’ka-den by Akira Kurasawa, Promised Heaven by Eldar Ryazanov, The Lady in the Van by Nicholas Hytner—model these seamy spaces and their peculiarities inherent in national culture. Very popular now are YouTube channels about the life of homeless people, which show real characters in their real habitats, introducing marginal spaces into the rank of a hot-topic visual culture. This type of visualization provokes another cultural phenomenon— the perception of marginal loci and their inhabitants as an interactive performance. Interactivity can vary from attacking to fraternization, from preaching to charity. Odd as it may seem, hyper-visualization and aestheticization of social ulcers contributes to their social invisibility. It is a problem, which no one is going to solve anymore; it has become a part of modern culture with its own philosophical and aesthetic arguments—and in a certain sense they act as its justification.
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LAVRENOVA, OLGA A. "“THE SEAMY SIDE OF THE CITY”: MARGINAL LANDSCAPES AND CONTEMPORARY VISUAL CULTURE." ART AND SCIENCE OF TELEVISION 17, no. 2 (2021): 61–87. http://dx.doi.org/10.30628/1994-9529-2021-17.2-61-87.
Full textAbstract:
The topic of people thrown to the sidelines of life is considered in a double frame—in the context of the way the urban space is arranged and in the context of modern visual culture (feature films, video and photo blogs, videos on popular YouTube channels). The most hyped-up type of marginal landscape in modern media is slums. The otherness of such spaces has always been a subject of interest and curiosity, for “gazing”—interpretation, perception and entertainment. In modern mass culture, the “location” of the global south slums is especially trendy. In such exterior, hyper-popular feature films such as Slumdog Millionaire have been shot, causing a new cultural phenomenon—mass slum tourism. This phenomenon seems to be ambiguous from an ethical point of view; but from the point of view of visual culture, it is voyeurism brought to the level of an art and everyday life practice. The second type of marginal urban landscapes is local “invasion” into the decent and institutionalized city space. This art form serves as a “location” for a psychological drama of superfluous people. Features of national identity are most clearly manifested on its seamy side rather than anywhere else. Japanese townships of the homeless, incorporated into central and well-to-do areas, are no strangers to order and aesthetics; while Russian realities—chaos, departure from norms and underground—are completely opposite. Classic films devoted to this issue—Dodes’ka-den by Akira Kurasawa, Promised Heaven by Eldar Ryazanov, The Lady in the Van by Nicholas Hytner—model these seamy spaces and their peculiarities inherent in national culture. Very popular now are YouTube channels about the life of homeless people, which show real characters in their real habitats, introducing marginal spaces into the rank of a hot-topic visual culture. This type of visualization provokes another cultural phenomenon— the perception of marginal loci and their inhabitants as an interactive performance. Interactivity can vary from attacking to fraternization, from preaching to charity. Odd as it may seem, hyper-visualization and aestheticization of social ulcers contributes to their social invisibility. It is a problem, which no one is going to solve anymore; it has become a part of modern culture with its own philosophical and aesthetic arguments—and in a certain sense they act as its justification.
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Zaitseva, Marina L., Regina R. Вudagyan, and Alexei I. Chekmenev. "Interpretation of the Concepts of “Mass Culture” in Presentday Humanitarian Sciences." ICONI, no. 4 (2019): 53–60. http://dx.doi.org/10.33779/2658-4824.2019.4.053-060.
Full textAbstract:
The article is devoted to the analysis of the concepts of “mass culture” in present-day humanitarian scholarship. The article highlights three groups of interpretations of this concept: the pessimistic, the apologetic and the problemoriented. The characteristic features of each of the presented groups are specified. Mass culture presents a complex and multilayers phenomenon, which is relevant among large strata of the population. The main particularities of mass culture are in the blending together of numerous various cultural codes and traditions, mobility, directedness at wide strata of the population, a commercial character of production, a significant amount of pluralism of directions, hedonism, availability, directedness at a visual type of perception, etc. The main particularities of the new contemporary concert conditions is a multitude of styles, active use of the method of deconstructing the academic classical repertoire and various forms of adaptation of the academic classical heritage to present-day performance practice. The art of music develops upon the impact of numerous factors pertaining to the sphere of culture, economics and many other domains of man’s social life. Special signification on the development of present-day performance practice is rendered by mass culture. The complexity of solving the questions connected, first of all, with the definition of the concept of “mass culture,” with the uncovering of its influence on the art of the turn of the 20th and 21st centuries stipulates the necessity of making a brief overview of research related to this issue.
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Panourgia, Eleni Ira, Finbar Wheelaghan, and Xue Yang. "Digital interactions." Airea: Arts and Interdisciplinary Research, no. 1 (June 13, 2018): 3–10. http://dx.doi.org/10.2218/airea.2732.
Full textAbstract:
This article discusses a prototype that explores the simultaneous manipulation of three-dimensional digital forms and sound. Our multi-media study examines the aesthetic affordances of tight parameter couplings between digital three-dimensional objects and sound objects based on notions of process and user-machine interaction. It investigates how effective cohesion between visual, spatial and sonic might be established through changes perceived in parallel; what Michel Chion refers to as 'synchresis'. Drawing from Mike Blow's work On the Simultaneous Perception of Sound and Three-Dimensional Objects and processual art, this prototype uses computer technology for forming and mediating a creative practice involving 3D animation, sound synthesis, digital signal processing and programming. Our practice-based approach entails the rendering of a three-dimensional digital object in Processing whose form changes over time according to specific actions. Spatial data is sent via Open Sound Control (OSC) to Max MSP in real time, where sound is synthesized and then manipulated. Sonic parameters such as amplitude, spectral density/width and timbre are controlled by select spatial parameters from the three-dimensional object. Sound processing is realized based on the changing of the three-dimensional object in time through basic actions such as splitting, distorting, cutting, shattering and rotating. We use digital technology to look beyond basic synchronisation of sound and vision to a more complex cohesion of percepts, based on changes to myriad sonic and visual parameters experienced concurrently.
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Georgieva Fileva – Ruseva, Krasimira. "PERCEPTION OF MUSIC BY HELP OF OTHER ARTS." Knowledge International Journal 28, no. 7 (2018): 2391–97. http://dx.doi.org/10.35120/kij28072391k.
Full textAbstract:
It is known that a person perceives most of the information in a visual way. This means that the sensory culture of vision is richer, more fully developed than that of other senses. It is known that a human as a social individual uses daily and effectively develops verbal communication with other people. This means that the word with all the information it carries, including emotional, is easily understandable by all who speak the same language. Both types of receiving signals are most worked out and developed the most versatile and rich in every person, and information obtained in these ways is the most detailed, varied, including subtle emotional nuances, easily understandable and perceived most accurately, with the least distortions, as it is invariably needed in everyday human activities and therefore its perception and processing is constantly trained and developed. The non-verbal information that one receives by hearing also has a place in everyday practice, but its volume is not as large as that of information obtained by sight, nor is it so significant and as often used as the communication perceived through speech communication. All these facts warrant claiming that the processed non-verbal hearing information is also not as complete as the visual and the speech. A type of organized non-verbal sound signals is also the music that one perceives. However, as is clear, musical perception is not as versatile and complete as the perception of works of fine (visual perception) and verbal arts (speech perception). This makes it possible to assert that in order to become richer and more precise, the perception of a musical work can be supported by the perception of works of these arts which have a similar character to that of the musical piece that is listened.This idea is an important part of Prof. Penka Mincheva's system for enriching and refining the musical perception of students from the general education school in Bulgaria through combining the perception of a musical work with the perception of suitable works of other arts. This idea is widely used in the textbooks on music of our authors' team under the guidance of Prof. Penka Mincheva [7 - 15]. With various specific tasks in music textbooks throughout the training course, while listening to tonal works are displayed paintings, drawings, photographs, interpreted and composed poems, students paint their own impressions of the sounded music. It is also planned to introduce the adolescents from the 3rd to the 7th grades with works of the musical-stage genres, through which it is fulfilled an integrative connection with more types of arts. The combination of the perception of music with a display of works of other arts, made in the textbooks on music for the 1-7 grade [7 - 15], I am examining in this study, by reference to specific examples.The result of the combined perception of works of various arts is not only enriching the impressions of the particular perceived musical work, but also a longer-term:- Gradual development of the skills to experience the listened music, to reveal its character, to track not only the brightest but also the most delicate changes in this character in the course of musical act;- Education of the style sense, respect, understanding and love to the valuable musical art.Naturally, this approach, with the vivid impressions created during its implementation, has a beneficial effect on the more reliable memorization of the main subjects of the auditioned samples of tonal art. Thus, the musical culture of the young people is also increased.
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Georgieva Fileva – Ruseva, Krasimira. "PERCEPTION OF MUSIC BY HELP OF OTHER ARTS." Knowledge International Journal 28, no. 7 (2018): 2391–97. http://dx.doi.org/10.35120/kij29082391k.
Full textAbstract:
It is known that a person perceives most of the information in a visual way. This means that the sensory culture of vision is richer, more fully developed than that of other senses. It is known that a human as a social individual uses daily and effectively develops verbal communication with other people. This means that the word with all the information it carries, including emotional, is easily understandable by all who speak the same language. Both types of receiving signals are most worked out and developed the most versatile and rich in every person, and information obtained in these ways is the most detailed, varied, including subtle emotional nuances, easily understandable and perceived most accurately, with the least distortions, as it is invariably needed in everyday human activities and therefore its perception and processing is constantly trained and developed. The non-verbal information that one receives by hearing also has a place in everyday practice, but its volume is not as large as that of information obtained by sight, nor is it so significant and as often used as the communication perceived through speech communication. All these facts warrant claiming that the processed non-verbal hearing information is also not as complete as the visual and the speech. A type of organized non-verbal sound signals is also the music that one perceives. However, as is clear, musical perception is not as versatile and complete as the perception of works of fine (visual perception) and verbal arts (speech perception). This makes it possible to assert that in order to become richer and more precise, the perception of a musical work can be supported by the perception of works of these arts which have a similar character to that of the musical piece that is listened.This idea is an important part of Prof. Penka Mincheva's system for enriching and refining the musical perception of students from the general education school in Bulgaria through combining the perception of a musical work with the perception of suitable works of other arts. This idea is widely used in the textbooks on music of our authors' team under the guidance of Prof. Penka Mincheva [7 - 15]. With various specific tasks in music textbooks throughout the training course, while listening to tonal works are displayed paintings, drawings, photographs, interpreted and composed poems, students paint their own impressions of the sounded music. It is also planned to introduce the adolescents from the 3rd to the 7th grades with works of the musical-stage genres, through which it is fulfilled an integrative connection with more types of arts. The combination of the perception of music with a display of works of other arts, made in the textbooks on music for the 1-7 grade [7 - 15], I am examining in this study, by reference to specific examples.The result of the combined perception of works of various arts is not only enriching the impressions of the particular perceived musical work, but also a longer-term:- Gradual development of the skills to experience the listened music, to reveal its character, to track not only the brightest but also the most delicate changes in this character in the course of musical act;- Education of the style sense, respect, understanding and love to the valuable musical art.Naturally, this approach, with the vivid impressions created during its implementation, has a beneficial effect on the more reliable memorization of the main subjects of the auditioned samples of tonal art. Thus, the musical culture of the young people is also increased.
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Sońta, Monika, and Sławomir Magala. "What You Create Is What You Learn." International Journal of Management and Applied Research 7, no. 3 (2020): 293–307. http://dx.doi.org/10.18646/2056.73.20-021.
Full textAbstract:
The objective of this paper is to check whether what you see is what you get. In other words, to present an application of a ‘Vision Board’ (VB) technique in the academic classroom as an innovative and creativity-boosting practice. The authors start with the definition of Vision Boards born out of academic wedlock, primarily in art. It is the avant-garde art of the past century that shaped our visual thinking. Artistic experiments gave us collage (from Braque to Schwitters and from Hamilton to Beuys). Artists expressed the fragmentary and relative nature of our perception of reality. Cunning passages led from art shows to university classrooms: this is how a modular ready-to-use creative workshop scenario designed for 60 minutes had emerged. Art shows that the public brings the relativity of aesthetic evaluation with “beauty in the eye of the beholder.” Does the student audience echo this claim to observer’s, receiver’s, reader’s, viewer’s, and listener’s relative and subjective response? In search of an answer, we discuss the drives of student engagement, demonstrated by student decisions to contribute to a collective VB activity with personal Artistic expression, input Creation, process Control, Context defining, Emergence monitoring, and Emotions gauging. Moreover, the authors share their practical experiences from student workshops and the creation of 25 Vision Boards and the potential pains and gains of the application of VB in the classroom. The attention is drawn to a) linking playful experiences to serious topics and theoretical concepts and b) leveraging creative discoveries by upgrading output required by course syllabi.
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Jelley, Jane. "From Perception to Paint: the Practical Use of the Camera Obscura in the Time of Vermeer." Art & Perception 1, no. 1-2 (2013): 19–47. http://dx.doi.org/10.1163/22134913-00002006.
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This is a report of a studio experiment to explore how images from the camera obscura could have been used directly by artists of Vermeer’s era. It has a pragmatic and practical approach, bringing a painter’s eye and experience to the problems of transferring images from the lens to a canvas, using the primitive technology and unrefined materials available then. It addresses how an artist could use the condensed, flattened images from camera obscura projections in his painting process, when the subject could appear reversed and inverted on the screen or on the wall. It considers how the limitations of the materials that make transfers possible might affect studio practice, and ultimately the stylistic qualities of the work produced. This paper outlines a simple printing method that would enable the seventeenth-century painter to transfer monochrome images, corrected in orientation, from the lens to a canvas with relative ease, for use as the painting progressed in the stages prescribed at the time. Prints made on the ground layer could form the basis of underpainting, while those on top layers could transfer highlights and optical effects, not seen with the naked eye. This technique would allow the painter to be in the light of his studio, facing his motif, when working in colour. Reference is made to art historical literature and contemporary workshop treatises, and all materials used are authentic. The results obtained using this process are consistent with the visual evidence of the way in which Vermeer applied his paint, and with recent scientific examination of his work. The findings suggest possible causes for some of the unusual qualities of Vermeer’s work, in particular the strong tonal polarity in the underpainting with no evidence of drawing, his choice of material in the ground layers, and the qualities of variable focus.
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Tkachenko, Mariia. "THE ROLE OF THE CHOREOGRAPHIC COMPONENT IN THE SYSTEM OF ARTISTIC DISCIPLINES OF THE EDUCATIONAL PROCESS OF ART SCHOOLS." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 205–8. http://dx.doi.org/10.36550/2415-7988-2021-1-195-205-208.
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The system of artistic and aesthetic education with the help of various arts, elevation of rhythm and choreography in a bright pedagogical theory and practice was laid in the early 20's of the XX century. All the accumulated experience in this field contributed to the improvement of the content of choreographic training and led to the process of separating professional art education from amateur and the creation of appropriate educational institutions for children. Choreographic creativity is one of the means of comprehensive development of students studying at the school of arts. Performing cognitive and educational functions, choreographic art is inseparable from its aesthetic function: choreography lessons promote the development of visual, auditory and motor forms of sensory and emotional perception of the world. Students learn to convey the movements of the various nature of music, its dynamics, tempo, to change the movement in connection with the change of parts of a piece of music, to begin with the beginning of music. The success of artistic and aesthetic education of children by means of choreography is due to the synthesizing nature of choreography, which combines music, rhythm, dance, fine arts, theater and plastic movements. The educational program for the specialty «Choreography» (today) is designed for eight years of study. Choreographic training of students of the choreographic department includes the following profile disciplines: classical dance, folk-stage dance, modern pop dance, gymnastics. Elective disciplines can also be chosen: historical and everyday dance, concert number staging, sports and ballroom dancing, duet dance. Related subjects: drawing, music, art history. The basis of the content of teaching choreographic art, regardless of the type and genre of choreography, is the involvement of students in active motor activity, which by nature is divided into: executive, improvisational, creative [development potential]. Students have the opportunity to realize themselves in the creative laboratories of art schools - choreographic groups and ensembles.
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Kobyshcha, Varvara. "How Does an Aesthetic Object Happen? Emergence, Disappearance, Multiplicity." Cultural Sociology 12, no. 4 (2018): 478–98. http://dx.doi.org/10.1177/1749975517742212.
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In studying visual and plastic arts, social researchers tend to assume that an aesthetic object is pre-given to a viewer who does not participate in the process of the object’s becoming. They problematise the aesthetic status of an artwork, but not its objectness. This article shows that audience perception, considered as interaction and situated practice, does not merely define the meanings and emotions attached to a certain object, but plays a constitutive role in the object’s physical state and its very existence as an object, i.e. as an integrated unity extracted from its surroundings and affording a direct, intensive encounter. Synthesising the conceptual resources of Hennion’s pragmatics of taste, Simmel’s aesthetic theory, gestalt theory, and social phenomenology, I explain various ways an object in the situation of perception happens and achieves a certain mode of existence or fails to happen and disappears. The article is based on three empirical examples derived from the ethnographic study of the open-air land art/architectural festival ‘Archstoyanie’. The first case illustrates how an object is extracted from the environment and the festival’s infrastructure; the second, how the visitors destroy the incomplete boundaries of an object so that it dissolves into the surroundings; and the third, how an object maintains its integrity despite its inner complexity and multiple centres that attract the visitor’s attention.
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Campbell, Anne, Jo Egan, Paul Murphy, and Carolyn Blair. "Getting our act together: a qualitative evaluation of the impact of a play on issues relating to women, sex work and substance use." Wellcome Open Research 6 (September 14, 2021): 234. http://dx.doi.org/10.12688/wellcomeopenres.16644.1.
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Background: The arts have always sought to explore significant social issues through literature, performing arts and visual art. However, more recently there has been an increase in the use of theatre as a means of gauging audiences’ perception and understanding of key social issues. The primary aim of the current evaluation was to seek the views of audience members, service users of addiction services and expert commentators as regards their perception of a number of key issues related to the content of a play entitled Madame Geneva. Methods: The evaluation used an exploratory qualitative design incorporating a dualistic approach to the research process: including post show discussion with panellists and members of the audience and a focus group comprising service users who had also viewed a live performance of the play. Results: The topics elucidated by the performance of the play included women and sex work, women and substance use, and impact on policy and practice. The discussion of the issues raised reiterated that women still experience high levels of oppression and discrimination in areas of substance use, sex work and welfare ‘reform’ which are often couched within male dominated political discourses and structures in contemporary society. Conclusions: The arts and specifically dramaturgical representations of substance use and related issues is an effective method of initiating important pragmatic and policy discussion of issues, which affect women
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Brazgovskaya, E. E. "Ekphrasis as a Semiotic Experiment." Critique and Semiotics 38, no. 1 (2020): 52–72. http://dx.doi.org/10.25205/2307-1737-2020-1-52-72.
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This article is focusing on two cognitive-semiotic processes: verbal representation of physical world objects and reverse translation of a sign into a thing – on creation of mental pictures based on verbal descriptions. Simultaneously, we study the cognitive-semiotic phenomenon of reading: the degree of certainty of mental images and their reliability which are determined by semiotic techniques of representation. The object of analysis are series of verbal pictures – representations of a work of art in Goran Petrovich’s novel “Atlas Composed by Sky”. The iconism of ekphrasis is the basis for the creation of gestalt paintings. According to the degree of iconism, there are distinguished the “absolute” copies (reproductions of pages of books and letters); ekphrasis in the form of a list of picture’s characters (icons as a schemes) and representations which creates the effect of “animated” or “living” pictures – like cinema images. The other side of the word is the image of another modality. The hidden multilingualism of verbal representations (for example, a visual image behind the verbal signs) explains why we not only see our mental images, but also hear, smell them and can touch their objects. So, the process of reading is based on working with «cognitive tango» of languages (L. Zbikowsky), where verbal system is presented in the current mode, while the visual image has a mental nature. This phenomenon of consciousness becomes the reason that missing (in direct perception) art objects become “real”. The possibility of a symbolic interpretation of mental images in the contexts of intellectual history allows us to define ekfrasis as more creative than mimetic practice.
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Malkova, Liliana Yu. "Information Requirements of Society and Expressivity of Audiovisual Media." Journal of Flm Arts and Film Studies 9, no. 4 (2017): 134–44. http://dx.doi.org/10.17816/vgik94134-144.
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Contemporary realization of enlightenment tasks of TV is considered in the article in context of cultural contradictions, stimulated by screen mediation of social communications. The request of society for audiovisual information grows outside mass media today: it has entered into document flow, mediates social ritual, in a new way enters culture. At the same time there is a devaluation of authenticity of a documentary shot in television practice, complication of the visual figurativeness built around oral forms of expression. The culture of oral communication presupposes that TV shows are meant mainly for acoustical perception, submitting their visual component to the spontaneity of oral speech at the different levels. To the person, whose social activity, work, daily routine are mediated by screen and do not lose at the same time their authenticity, today it is harder and harder to differentiate the sphere of journalism or art as conditional, "other" environments in which he himself becomes an object of the influence, a target of transformed audiovisual representation of reality. Broadcasters by all means raise the perceptual attractiveness of content in fight for the viewer, whose own activity grows in the media field and his communicative status loses definiteness. At the same time the priority of enlightenment tasks even in political segment of broadcasting is lost, and the social mission of the leading TV channels in audiovisual communication becomes doubtful.
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Zavyalova, Anna E. "Alexandre Dumas’s Works in the Art of Alexandre Benois." Observatory of Culture 16, no. 2 (2019): 184–95. http://dx.doi.org/10.25281/2072-3156-2019-16-2-184-195.
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The article studies the problem of interpretation of literary source in visual creative work of A.N. Benois. There are identified and analyzed new sources of his works — historical novels by A. Dumas, père. The question about the role of the novels by Alexandre Dumas devoted to the history of France of the 17th and 18th centuries in creative work of Alexandre Benois has never become the object of research. The relevance of this article is determined by this fact. The scientific novelty of this article lies in revealing new literary sources of creative work of A. Benois — Dumas’s novels “Joseph Balsamo (Doctor’s Notes)” (1846—1848), “Louis XIV and his Century” (1844), “Louis XV and his Epoch” (1849) — and determining parallels between them and art practice of the artist: painting, graphics and art of book. The author analyses content of the artist’s memories, his literary works, diaries, as well as diaries by E. Lanceray, and complements these information details by a comparative textological analysis of Benois’s memoirs and Dumas’s novels in Russian translations. This method allows to deepen the formal analysis of A. Benois’s works (primarily the two Versailles series) and partially reveal the mechanism of complex figurative synthesis in the artistic consciousness at the turn of the 19th—20th centuries, on the basis of which they were created, to expand the existing perceptions about the literary sources of the artist’s creative work. The author concludes that the novels by Dumas “Joseph Balsamo”, “Louis XIV and his Century” had an influence on the artist’s perception of the theme of court culture and Versailles in the historical, cultural and natural aspects. It was reflected in the appeal to the plot of “fish feeding” in the late 1890s, in the formation of the images of Versailles and King Louis XIV in old age. The article also finds that the novel “Joseph Balsamo” had an influence on Benois’s creation of Trianon’s everyday image in the past. At the same time, the artist turned to the interpretation of the image of Marquise de Pompadour as “sultana” under the influence of Dumas’s novel “Louis XV and his Epoch”. In addition, the three musketeers — characters of Dumas’s novel with the same name — are placed in the drawing of the title page of Benois’s “Versailles” album. It is important that it does not come about direct illustration of the novels, but about an artistic process of creating a figurative system of images and forming the artist’s stylistics.
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Hilman, Yusuf Adam, Ekapti Wahjuni Dwijayanti, and Khoirurrosyidin Khoirrurosyidin. "Identitas Lokal Masyarakat Etnik Panaragan." JURNAL SOSIAL POLITIK 6, no. 1 (2020): 98. http://dx.doi.org/10.22219/sospol.v6i1.8948.
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People of Ponorogo is believed to have mystical or supernatural abilities. Public perception understands the character of Ponorogonese as Warok who tends to speak assertive, open, and rude. Warok is the one of antagonist theatrical drama player of Reyog. Negative stigma arises based on the lack of public understanding of the history of Paragan culture. Panaragan's identity actually has noble cultural values. This paper aims to identify Panaragan ethnic identity, in greater depth based on its distribution of settlement, art performance, patterns of interaction, language, and the practice of visualizing identity and characteristics in public spaces. The descriptive qualitative method was applied through data collection from the results of literature studies and observations. Data analysis through triangulation techniques was sourced from literature review of journals, books, and documentation obtained in the field. Panaragan ethnic local identity is influenced by, 1) Reyog performance art that popularized the figure of Warok as a powerful and influential person. In Javanese society, the term Warok is identical to Wewarah, which is understood as someone who is able to teach others about a good life. In the understanding of Islam, wara’ is a social status for those who take the Sufi path. Unfortunately, during the era of colonialism, the figure of Warok was constructed into an image that was used to frightening people and maintain the ruler authority; 2) The Panaragan dialect 'Warokan' is spoken in a straightforward and assertive manner with high intonation which is the influence of art performance Reyog's diction and language style. On the other hand, cultural construction through visual arts symbols and Panaragan cultural performances represent the character of the Ponorogo indigenous people who are persistent, independent, brave, and adventurous.