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Българският ХХ век в изкуствата и културата
(2018). Българският ХХ век в изкуствата и културата, том 1 – 2. Колектив. София: Институт за изследване на изкуствата – БАН. 584 с. С илюстрации.
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(2018). Българският ХХ век в изкуствата и културата, том 1 – 2. Колектив. София: Институт за изследване на изкуствата – БАН. 584 с. С илюстрации.
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There can be no doubt: we live our entire life, surrounded and organized by design. The way we live, take a bath, drive, feed, and pack our belongings, even how we look at the world through our glasses: all of this has already been designed, shaped, and designed for us. The design of products, regardless of the different circumstances, has been accepted to attribute certain qualities: functionality (usually in technical-exploitation sense), ergonomics, constructiveness, economy, and aesthetic expression. Some other properties and qualities are often unnoticed or more precisely underestimated. They stem from the organic connection of design with a number of other spheres: Social, economic, political, and religious.
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The first celebration of contemporary art in the heart of Ludogorie, called “In the Hand of Demir Baba” – literature, music, theater and “something else”, added a new event in the festival calendar of Bulgaria. Organized by young people with the ambition to promote local cultural heritage and disprove the general view of the lack of interesting and entertaining events outside the capital, the festival, as a pilot, promises more meetings with Demir Baba and asks to become an annual event for sharing culture and meeting with interesting people from all over the country.
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The provocative title ”The Mystery of the masks” was liked by the students from 10th grade whose specialty is Interior design. The lesson consists of small parts of the contents of the comedy Tartuf. The image of the main character Tartuf complements the idea for his deceitful essence. The pictures drawn by the students emphasized on his unreal piety and mean glimpse. The main question in this lesson is: why do we need masks? The answer is: in order to recognize the faces of Truth and Lie, to approve sense! The exhibition of masks helped students to choose which one they like more or which picture characterizes them more.
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90 years ago a group of enthusiasts form an opera ensemble, as it occurs in many other localities. And if after one or two titles everything finishes mainly because of lack of funding, exactly in that consists the heroism of citizens of Stara Zagora: the only amateur ensemble which exists 21 years long, and after that it is nationalized in 1946. The nationalization is a kind of recognition but this leads to shocks. In 1967 lays the beginnings of the annually organized Festival of the Opera and Ballet Arts – a mirror of the achievements in the area of music and performing arts. Because of a conflagration end of 1991 the ensemble left homeless. In 2015 the State Operа Stara Zagora celebrates its 90th anniversary, and on the 1st of April 2016 it is 70 years since its nationalization.
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Pirin Pee Festival is an event which demonstrates in a specific way the concepts for safeguarding and popularization of tradition. In its core is the scenic representation of examples of traditional local culture. All this provokes mutual interaction between different points of view to ancient singing and music making – authentic folklore, the motors of the event who are the performers and the organizers (they are mainly connected to amateur art practiced in the different chitalishta) and, on the other hand, those who stay behind the artistic interpretation of the local culture within the frame of professional art. In this context the festival is a place for active keeping to the tradition and its influence in the present as well as in the future. All that contributes to the specific, colorful contemporary picture displayed on the festival that is further observed or enriched by specialists, performers and connoisseurs.
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The European dance culture is homogeneous. Many of the European dances are not only related to each other but are also variations of each other. Their area of distribution (the ancient Roman Empire) indicates that a common dance ancestor had already existed in antiquity. This ancient dance is the so called Faroe step. The ideology of humanism resulted in a worldview in which the human being and his free will become the measures of everything. Human needs and interests are put in the centre of the new worldview. The worth of the individual increases and he is gradually released from his shackles, life turns into a priority, a demand for individual gratification appeared: amusement, entertainment, dance. From the local variants of the Faroe step used in the ancient rituals has developed in a fanlike manner the European dances (including the Bulgarian ones) with their incredibly rich tempos and rhythm were developed. They were all inspired by the dominant instrumental musical accompaniment.
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The article presents main rites and feasts in the villages of Dolen and Satovcha. The specifics of the singing tradition of the Bulgarian Christians and Muslims are described. The author finds that despite of the fact that some traditional rites and feasts such as Peperuda, maiden chain dance on Bayram, etc. are no longer performed, the songs connected to them continue to be performed.
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A blitz interview with Georgi Gochev, classical scholar and translator, on his recent work on a new Bulgarian version of Euripides’ Medea done especially for Snezhina Petrova’s socially engaged staging of the ancient tragedy.
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Short introduction to Jokha al-Harthi, her writing and the cultural context she comes from by the translator, Dr. Nedelya Kitaeva, who is teaching Arabic language and Culture at the New Bulgarian University.
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Kandinsky's work, his achievements in the search for new means of expression in painting and, in a broader sense, a new understanding of art, may seem strange, unbalanced and groundless even today. But with Kandinsky, as with any artist, we find prerequisites for this in his biography. Childhood and adolescence leave an imprint on his work. In his young years, along with his innate talent, he builds inner motivation and gains a stimulus for creativity.
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Expressionism, cradled by Germany, flourished during the so-called "Expressionist Decade" (1910-1920). Its most common socio-cultural precondition is the crisis in the public and moral-ethical consciousness on the eve and during the First World War. It expresses the will to change a generation that grew up with the nightmares of war and the deepening decline of bourgeois-philistine consciousness. Like most modernist trends in art, expressionism uses the provocation of "good taste," the breaking of outdated traditional orders and aesthetic habits. The meaning of the term is derived from "expression" - an expression of feelings, which in the most general sense is the artist's desire to project the torments of his own soul on the depicted object.
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This article focuses on the digital font format developed in the late 90s and released in the early 2000s called OpenType and its implementation in general with the emphasis on Bulgarian Cyrillic. Starting from early printing technologies from the 15th century and going through the first digital print and the development of Bezier curves and computer vectors right until the freshest developments and ideas of Variable fonts.
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Choices that must be made when dealing with artworks defying representationchallenge the curators to rethink the exhibition space and seek new ways to tella story within it. This text is focused on the curatorial approach to an exhibitionof posters from various site-specific projects by Christo and Jeanne-Claude. Thetext is also about the unique character of the works themselves as depicted onthe posters, about the social and political background that connects Christo andthe Bulgarian audience which was subtly contextualised in the NBU exhibitionbuilding.
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The text is driven by the concept of crowdsourcing and seeks its application in supportof the public function of the Bulgarian National Television. The author developsconcrete suggestions how to implement user-generated content for the benefit of thepublic media content.
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Original music plays a leading role in many popular video games. Although it's not always the best solution for all titles, developers often resort to the services of experienced composers to create an original soundtrack that fits the atmosphere of the game. But this is not the only role of original music in video games, and sometimes it’s creators are not experienced composers, but gamers themselves
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The text is composed of four analyses, prepared as course assignments for the “Interactive story and combined storytelling” course, part of the “Digital media and videogames” Master’s program at FJMC. The object of the analyses are the following works: Prison Valley, 2010, Pirate Fishing – an interactive investigation, 2012, Universe Within: Digital Lives in the Global Highrise”, 2015, Bury Me, My Love, 2017.
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The main goal of the article is to describe and analyse the artistic practice of the American artist Sharon Lockhart as well as her works created with the participation of children and young adults. The materials studied herein are the documentation of her activities, interviews, and texts accompanying exhibitions. A particular attention is paid to the projects made in Poland, especially those created with Milena, a teenage girl from a poor area of Łódź, and her friends from the Youth Sociotherapy Centre in Rudzienko. In the article, the artist’s statements are confronted with a formal analysis of her projects. With the use of such secondary sources as cultural, anthropological, art, and childhood studies literature, Lockhart’s artworks are described and interpreted in the context of creating the child’s image, of the young girls’ participation in art projects, and of the author’s method of work itself, which she calls ‘etnographic.’ The precise and interdisciplinary research shows superficiality of this pedagogical and emancipatory method, including using the girls to evoke a specific mood in the audience. From the perspective of art studies, Lockhart’s works, however, may be interpreted as an aesthetic story about a meeting with and an attempt to get to know the Other.
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