SOVIETŲ LIETUVOS KINO FASADAI IR KULISAI
Rec.: Anna Mikonis-Railienė, Lina Kaminskaitė-Jančorienė, Kinas sovietų Lietuvoje: sistema, filmai, režisieriai, Vilnius: Vilniaus dailės akademija, 2015.
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Rec.: Anna Mikonis-Railienė, Lina Kaminskaitė-Jančorienė, Kinas sovietų Lietuvoje: sistema, filmai, režisieriai, Vilnius: Vilniaus dailės akademija, 2015.
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The article deals with the analysis of the representations of space in the novel Chapaev and Void by Viktor Pelevin. The theoretical background of the research is based on the works of Bertrand Westphal and Robert Tally on geocriticism and literary cartographies. The authors seek to underline those aspects of the novel that reveal the refferentiality, transgressivity and spatiotemporality of the space represented in the text. In the novel, there are maps which suppose the relation of the fictive space to the reality as well as pictures that represent places already known from the creative works of Russian literature or visual arts. Thus the main character’s leaving for the void is the same as the author’s departure from the tradition of Russian literature. At the same time, this tradition persists as the “collective visual” that serves for Pelevin as an archive for the visual spatial images / pictures of the novel. Pelevin is keen on the observer and his interpretation of the visual images, what makes his novel highly topical in the context of the recent geopolitical catastrophes of the world.
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André Malraux is a major writer of the twentieth century. We know him as an engaged intellectual and a novelist. His books on art are less read than the rest of his work. Academics and historians have never taken them seriously. Even if they are not of great scientific rigor, they show an original thought expressed in a flamboyant style. Malraux does not write a new story of art but he proposes a philosophical reflection on its riddle. Using many examples of paintings and sculptures produced by various civilizations, Malraux seeks their similarities and imagine their improbable dialogue. He insists on some ideas: art unites people through History and allows both to defy reality and destiny. He values the concept of metamorphosis of our view of the masterpieces of the past.
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The article investigates graffiti of Tbilisi, Georgia, as a part of the linguistic landscape of the city. The research is carried out within the theoretical framework of linguistic landscape, based on the works by Landry and Bourhis (1997), Gorter (2006), Jaworski and Thurlow (2010), etc. The aspects of multimodality, multilingualism and sociality are focused on in the research. The graffiti analysed displays the features of multimodality where visual images are used alongside with written texts, thus, adding the element of complexity to the discourse investigated. It must be pointed out that the use of English language for graffiti making prevails. Regarding the social aspect of the linguistic landscape, Tbilisi graffiti shows the engagement of street artists in a socially-relevant discussion tackling both local and state-level problems. The display of Tbilisi graffiti demonstrates the fluidity of this type of narrative: older graffiti are covered with new ones in addition to being cleaned or covered with official or commercial signage.
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Le devoir de mémoire désigne le devoir moral d’entretenir le souvenir des souffrancessubies dans le passé par certaines populations. Cette reconnaissance est essentielle pour que lesindividus et les sociétés puissent se reconstruire après les crises, et surtout, pour éviter de renouvelerles erreurs et les horreurs d’hier. Traditionnellement, ce sont les monuments qui traduisent lavolonté publique de rendre visible le devoir de mémoire dû aux victimes et ces monuments sontsouvent réalisés, en France, dans le cadre de commandes publiques. Pourtant, ces constructionsdédiées au souvenir, massives, imposantes, placées au cœur des villes, semblent devenus inutilesà l’évocation de l’histoire, incapables de réveiller les mémoires. C’est peut-être pourquoi certainsartistes contemporains s’interrogent sur la valeur du monument historique à notre époque et sur lemoyen de perpétrer le souvenir. Jochen Gerz, par exemple, artiste conceptuel d’origine allemandené à Berlin en 1940, s’est penché sur ce thème du devoir de mémoire de la Shoah, que l’on peut considérercomme l’événement le plus traumatique du XXe siècle. Aussi, le travail de Christian Boltanski,artiste français né en 1944 à Paris, semble imprégné par cette nécessité de remédier à l’amnésiecollective. Comment évoquer l’indicible ? Comment visualiser la haine, la peur ? Comment renouvelerl’image si peu parlante aujourd’hui du monument aux morts ? Ces questionnements seront aucœur de notre recherche.
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This paper discusses the quotation frequency and reference strategies of Leon Battista Alberti, Federico Borromeo, and Gabriele Paleotti. These three Catholic art theoreticians of Early Modern period engaged Classical texts as the point of reference and expertly manipulated the Classical sources to provide contextual arguments in the formation of their own artistic theories. Alberti, Borromeo, and Paleotti directly alluded or referred to Pliny the Elder, Plutarch, Xenophon, Strabo, Aulus Gellius, and other Classical sources rather extensively. This can be noticed from various quotation strategies applied in Alberti, Borromeo, and Paleotti treatises and by statistical data on quotation frequency in Alberti’s De pictura, Paleotti’s Discorso intorno alle immagini sacre e profane, and Borromeo’s De pictura sacra.
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This paper looks at the 17th-century painting showing the adoration of Christ by nuns of the Order of St. Benedict, and which is to be found in the Convent of the Benedictine Sisters in Przemyśl. This depiction represents the spirit of the mysticism of the Passion. In the 13th century, devotion to the humanity of Jesus became more and more common, especially in Germany. The primacy of love in contemplation was a characteristic feature of this bridal mysticism, which was also known as love mysticism. In the 17th century, when the painting was created, this passionate spirituality continued this line of medieval thought, which was largely based on the texts of the revelations of medieval visionaries, especially those of St. Mechthild of Hackeborn and St. Gertrude the Great. A considerable role in the development of the cult of the Passion of Christ and His Heart in Poland was played by the prioress of the Benedictine nuns of Chełmno, Magdalena Mortęska, and the Jesuit Kasper Drużbicki. The nuns who are shown in the picture, from various times and places, represent the centuries-old tradition and history of the Benedictine Order and Benedictine monasticism.
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One of the genres of easel painting that remains less pretentious to politics landscape. The city of Chisinau, one of the most important cities of the Republic,was and remains a source of inspiration for artists Eugenia Gamburd, RostislavOcușco, Mihail Petric, Filimon Hămuraru, Ludmila Țonceva, Vasile Toma,Inesa Țîpina, Petru Jireghea, Ion Jumatii, Ion Chitoroagă, Florentin Leancăand others. That is one of the topics addressed by artists reflecting moments ofrelaxation, rest, sports - recreational centres (parks, lakes, stadiums etc.). Thisarticle analyzes the paintings from the collection of the National Museum ofArt of Moldova, but also the private collections of plastic artists concerning therest areas of Chisinau. These paintings made on the subject under research canbe attributed not only to the landscape genre but also, in some cases, to genrepainting. The subject becomes current for painters with the arrangement ofthe capital’s parks: The square of the Ensemble of the Metropolitan Cathedralof Chisinau, the Public Garden of Chisinau, the Botanical Garden, the Valley of Roses park, the Valley of Mills park, the Ghidighici Reservoir, the DinamoStadium etc.
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The purpose of the article is to consider the concept and determine its components, in the development and analysis of conceptual art in modern design. Methodology. The following methods are used: analysis, synthesis, as well as semiotic, hermeneutic, psychoanalytic. The scientific novelty of the work lies in the study of conceptual art on the examples of hairstyle design, hairdressing collections, and an attempt to comprehend the underlying contexts and meanings in the process of interpretation. Conclusions. Given the fact that modern design as a polymorphic entity with a dominant innovative component actualizes the activities of the new generation and acquires the features of intellectual comprehension of visual information, it can be argued that conceptual art is a priority in this direction. The concept as the initial concept of the conceptual is defined as a multilevel formation of content, the semantic meaning of the sign, which requires a process of interpretation. Through J. Dili's study of the theory of sign systems, the interpretation of the concept in the system of traditions, rituals, customs, which is perceived differently by different people due to belonging to different cultures, societies, etc., becomes clear. It is proved that the creation of the concept is based on processes based on individual practice, personal associations, and the main types of metaphorical and allegorical thinking that arise from the experience of not only cognitive but also substantive activity. The study of conceptual art on examples of hairstyle design, hairdressing collections shows the peculiarity of such works of art: they are not always functional and are not always defined as a utilitarian object, but the use of unusual color, shape, progression, silhouette lines, the fullness of space and volume with signs and symbols, require a multilevel semantic definition in the process of interpretation through intellectual comprehension of the inherent contexts and meanings.
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The purpose of the article. In the work, we showed design tools of visual communications designing with the stickers using. The problem of informing increase of message and level of its perception closely relates to forming of a dynamic image. Research methodology is founded on the basis of the system design approach, and also some methods such as structural and compositional, functional, artistic, and imaginative design-analysis. The scientific novelty of the work. We found out that people can use stickers as an integral part of the design system for dynamic information creation which is the most effective for perception. We focus on the fact that design tools can solve the problems of interaction of visual communications with material objects, persons, and the environment by dynamic means. Conclusions. We emphasize attention on analyzing the visualization processes that happen by stickers repetition with minor transformations on the moving constructions. By using the animation effect, designers manage to create the continuous process illusion. During the work, we analyze the using of template stickers. Their artistic and graphic language is formed on the person’s involvement in communication by the combining of some elements within a defined structure. We proved that using smell and steam. With the development of innovative technologies, stickers-indicators, which become visual markers of dynamic changes in the chemical and biological composition of products, become relevant. We described the close relationship between hidden dynamic signs and visual color changes of stickers. We studied that the design of dynamic visual communications relates to the using of stickers as relevant tools of structuring space. The participation of stickers in the process of visual arrangement of public installations appears over time and is carried out on the basis of a constant flow of people. As result all of the described visual transformations relate to the use of stickers and require the rethinking of traditional semantic and visual-plastic constructions that belong to the openness and intelligibility of the message.
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The purpose of the article is to identify trends and patterns of organization of the artistic space of the modern interior of the coworking center, as well as the creation of scientifically sound methods that argue appropriate ways to solve design problems in the field of aesthetics of the XXI century. Research methodology. The theoretical, structural, philosophical, and aesthetic method is applied; method of artistic and stylistic analysis to identify features of the interior design of Kyiv coworking centers; structural-semiotic method, which determines the artistic and figurative content in the interior design of modern coworking space. Scientific novelty. The main theoretical concepts that became the basis for defining the interior of the coworking center as a unique type of artistic space are considered; -an analysis of the basic spatial concepts developed by famous philosophers who understand it as an artistic space; identified and analyzed the features of artistic solutions in the process of designing working interiors of domestic coworking centers; the factors of influence on the artistic and figurative decision of the interior of the coworking space are determined. Conclusions. Based on the analysis of existing spatial concepts, it is determined that the space of a modern coworking center can be considered one of the types of artistic space and identify certain semantic categories (according to Gabrichevsky, Spengler, Heidegger, etc.). Characteristic techniques and means of artistic expression of modern interiors of coworking centers, which are related to the understanding of space as an artistic concept, reflect the idea of its polyphony and determine the artistic and aesthetic principles of domestic interior coworking center in the first decades of the XXI century.
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The purpose of the article consists in identifying the actual components of the national design system formation at the beginning of the XXI century. In particular, was been researched the study level of the influence of geometric ornaments as identifiers of national culture. Methodology. Analytical, logical, and chronological methods were being used. The scientific novelty consists in fact of first time systematically investigating the meaning of a geometric ornament as an art form that marking Ukrainian culture in the context of cultural globalization. Conclusions. As a result of generalizing the scientific views of various fields of knowledge, were marked the most significant conditions and problems of using the geometric ornament of Ukraine in visual communications at different time periods. Conditions include the «modernization» of graphic techniques and using a wide specter of intersectoral knowledge. The main problems are: unsystematic and insufficiently formed theoretical base, low professional level of designers (ignoring organizing visual-communicative elements rules, disharmony in the color solution, low graphic culture). As a result, were formed main directions for using geometric ornaments in graphic design projects. These directions are a synthesis of intersectoral knowledge, improvement of the designer's stylization and composition skills, using ornamental compositions with considering to context.
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The purpose of the article. Investigate the determination of the image of the pelican in Ukrainian culture and art as an original manifestation of national symbolics. Methodology. The research methodology is based on the application of a systems approach in combination with historical-genetic, comparative, and art methods, with the involvement of analysis of sources from the field of Ukrainian symbolism. The scientific novelty lies in the actualization of the study of the symbolic image of the pelican as a nationally specific component of Ukrainian culture. Conclusions. The representatives of the Ukrainian avifauna acquired in the popular imagination the forms of established symbolic images, that entered the space of national folklore through mythological thinking. The penetration of the pelican symbol into the arsenal of fine arts of Ukrainian culture did not pass through the mythological element but was borrowed from Christian cult publications and images of European countries. The oldest known images of the pelican in Ukraine belong to the artistic decoration of the book, and since the XVIII century, they are found in Baroque iconography and all kinds of plastic art. In Ukrainian art, as in the art of other countries, the image of the pelican acquires a symbolic meaning in three hypostases: a symbol of Christ's self-sacrifice, paternal self-denial, and human mercy. Priority in the study of the role and place of the symbol of the pelican in the national culture belongs to an art critic, poet, political activist Natalia Kotsyubynska. Further search for information on the role of ornithological symbols in the system of Ukrainian culture opens the prospect of a deeper understanding of the national mentality of our people.
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The purpose of the article is to study the development of the directions of Ukrainian book art, the formation of new creative features in the European cultural space. The research methodology consists in the application of general scientific methods (analysis and synthesis, induction and deduction) and methods of art history (comparative, typological, descriptive). The scientific novelty lies in the study of book art, which has always been important in Ukrainian art. Conclusions. Today, we have a large amount of fine works in the genre of book illustrations. These works reflected both the history of the Ukrainian literature, history of the national graphic art, as well as the history of cultural progress of Ukraine in general. Thus, book art is an extremely fruitful object of study, an intersection point, where the complicated process of interaction of socio-political, spiritual, cultural and artistic and aesthetic factors is underway. Thus, Ukrainian book graphics in different periods reflected all European trends – modernism, symbolism, neo-primitive art, futurism, cubism, expressionism, constructivism, realism, surrealism, Art Deco, neoclassicism. The originality of the artistic language emerged through the use of traditional motifs and vanguard image creation tools.
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The purpose of the article is to substantiate the theoretical provisions of the peculiarities of the production of cultural and artistic products in the modern art space. The research methodology is based on the principles of a logical approach. Comparative and interdisciplinary approaches are applied. The scientific novelty lies in identifying the main factors that determine the effectiveness of production activities, actualize and stimulate scientific discourse regarding methods of managing the cultural sphere, reveal the features and ways of optimizing the creation, proposal, and production of precisely those projects that demonstrate significant advantages of the producer over competitors, stimulate the creation in Ukraine, a reduced market for cultural services. Conclusion. Deep and comprehensive modernization of the art sphere requires the search for new approaches to optimizing content production. The optimization of production activities is focused on structuring the costs of the cultural and artistic project by deepening, expanding, and updating the professional knowledge, skills, and practical experience of the producer. It is determined that production activity is a multicomponent process in which financial, technical, legal, and labor resources are involved. All these components, one way or another, are related to creativity. In order for a cultural and artistic project to be competitive, it is necessary to take into account the following factors: digitalization of the consumer audience; tastes of the consumer audience; content criticism.
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The purpose of the article is to highlight a little-studied problem in domestic science, which is associated with the production of fashionable clothing and the use of traditional Ukrainian embroidery in the 60s of the twentieth century. The methodology is based on the principles of historical, art history, culturological analysis, and methods of systematization of factual material and typological analysis. The personal contribution of fashion designers in the rise of artistic embroidery in the 60s of the twentieth century is revealed. The scientific novelty lies in the disclosure of historical sources, artifacts that testify to the presence of ornamental embroidered elements in the decoration of Ukrainian women's clothing of this period. The production of clothes with embroidery on the territory of Ukraine is connected with shops, artel, and industrial productions. The state of Ukrainian embroidery with the use of modern fashion trends in the clothing of the 60s of the twentieth century is analyzed. Conclusions. Having conducted a study of fashion trends in Ukrainian clothing of the 60s of the twentieth century. and summarizing the art of its production, we can note the following: the production of compositionally completed collections of contemporary clothing, developed through the efforts of creative associations of fashion houses, light, and local industry, taking into account national Ukrainian traditions, took place to meet the demand of growing population and its cultural education. The implementation and realization of exquisite masterful, thematic ideas coordinated and directed the activities of the garment, textile, and knitwear industries. The national costume and its stylized elements with traditional motifs of Ukrainian embroidery attracted special and great attention to the fashion of the past times of the XX century.
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The purpose of the article is to identify general trends in the development of furniture design at the end of the 20th beginning - XXI century, to determine and form an objective complex scientific view, of the development of the design of the subject environment of this period. The methodology consists in the application of theoretical and empirical methods: comparative historical and objective-aspect analysis made it possible to determine the specifics of innovations in order to identify trends in the development of furniture design in the specified period; the problem-target method came in handy in the study and analysis of literary materials. Scientific novelty. In the study, for the first time, a comprehensive definition of the main signs of the formation and identification of the formulated main trends in the development of furniture design and the formation of the internal subject environment of the late XX beginning was applied XXI century. Conclusions. The results obtained allow us to identify the characteristic features of the form of creating furniture for interiors of the specified period, contribute to the establishment of an objective view of the historical development of this process, the growth of its scientific and theoretical significance in the conditions of the current industrial production in Ukraine. The theoretical aspects of the research can be further used in writing scientific papers on this topic, developing lecture courses on the history of furniture and interior design, creating special courses and special seminars for students of higher educational institutions, textbooks, manuals, and other educational and methodological literature.
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The purpose of the article is a substantiation of the use of visual images in the form of graphic models in printing advertising, consideration of the basic categories of graphic design in advertising, generalization of theoretical approaches to understanding the essence and content of the visual design of the advertising product. Methodology: analysis, synthesis, generalization. The research methodology consists in the application of general and special methods of cognition, in particular, the author used comparative analysis, synthesis and generalization, terminological, chronological and other research methods, among which a special place is occupied by review-analytical monitoring of publications. The scientific novelty lies in the substantiation of the introduction of the visual image of the text in the layout of the advertising project as a necessary addition to the traditional use of graphics, taking into account the peculiarities of the advertising communication process. This provided an opportunity to generalize and specify the specifics of the development of advertising ideas in printing through graphic design. Conclusions: As a result of the study it was found that the basis of graphic design in advertising is the application in practice of interdisciplinary knowledge and skills, the specifics of figurative expression in the artistic sense of the word. It was also found that the use of means of visualization of verbal and nonverbal information in the creative advertising concept is a very important component when considering the design function as a means of transmitting advertising information in printing. Derivatives that underlie the disclosure of creative advertising ideas with the help of design tools have been identified.
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The purpose of the article is to analyze the Olympic ceremonial costume of the XVIII Winter Olympic Games "Nagano-1998" and set the components demonstratively symbolizing the national identity in the design of clothing of the Olympic ceremonial costume. Methodology. Heuristic methods in art analysis were used to solve the set tasks, namely: visual observation; description; an attempt to establish components demonstratively symbolizing national identity in the design of Olympic ceremonial costume clothing; logical generalization of the obtained results. Scientific Novelty. According to the results of the art analysis of the Olympic ceremonial costume of foreign teams participating in the competitions (USA, China, Greece) of the XVIII Winter Olympic Games "Nagano-1998", one of the determinants of artistic and informational identification of the Olympic ceremonial costume was established for the first time and its components, which demonstratively symbolize a national identity in the design of clothing. Conclusions. Art analysis of the Olympic ceremonial costume, the reflection of socio-political influences of the historical context on its formality and informational compliance with the principles enshrined in the Olympic Charter [5, p. 11–12] competitions, give us reason to establish for the first time a demonstrative symbolization of the national identity of the design of clothing of the Olympic ceremonial costume as one of the determinants of artistic and informational identification. Given the ceremonial guidelines for identity in costume, which have been followed by all teams since 1936, the most important manifestation in this period (1998) is the semiotic accent in costume. Expression of their state independence, national identity, as well as the importance and identity of their culture at the turn of the era, with the help of such demonstratively symbolizing national identity in the design of Olympic ceremonial costume components, such as 1) Construction - the formation of the suit and the material used are tectonically displayed on the figures of athletes. By designing items of clothing, a visual image is built, which allows obtaining a silhouette identifying result; 2) Sign - stylization of the sign/signs is done by applying a pattern, graphic elements, combinations of graphic elements, embroidery, and possibly other creative innovative stylizations on clothes and accessories. Signs visually identify athletes, allow you to read the underlying meanings of the semantic information content of the costume; 3) Color – appealing to the colors of the national flag and reproducing with the help of color images of well-known objects of cultural heritage are the most popular methods of identifying the country during the Olympic parade. However, when choosing a color and its outflow, its compliance with the values in the host country and the prevailing trends overtime is taken into account. 3) Color – appealing to the colors of the national flag and reproducing with the help of color images of well-known cultural heritage sites are the most popular methods of identifying the country during the Olympic parade. However, when choosing a color and shade of color, its compliance with the values in the host country and the prevailing trends of the time is taken into account. It is worth noting that the visual image that translates national identity can be obtained by combining these components in the design, both together and separately, which was found during the art analysis of the Olympic ceremonial costumes of sports teams of the United States, China, and Greece.
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The purpose of the article. Research and analysis of algorithms of marketing technologies in the art market by studying the motivations of symbolic consumers of fine arts, namely, individuals who consume products of fine arts through symbolic appropriation. The research methodology is to apply comparative, empirical, and theoretical methods. This methodological approach allows us to analyze the motivations of symbolic consumers of works of art with the subsequent use of research results in the marketing processes of promoting works of art in the art market. The scientific novelty lies in the expansion of ideas about the motivations of symbolic consumers of the fine arts market and in the study of further marketing processes in it. The article analyzes the algorithms of marketing technologies in the analysis of motivations of symbolic consumers of the fine arts market. The article establishes that in the marketing of fine arts it is relevant and necessary to study the behavior of symbolic consumers of works of art as Individuals through the analysis of types of symbolic Consumers, as well as through the analysis of situations of symbolic consumption of works of art as a symbolically appropriated Product at the art market while viewing works of art in exhibition halls. Based on research in the field of art market marketing, we can say that artistic creativity is an area of activity of non-profit public and private museums, gallery and exhibition institutions, as well as large and small businesses, which should professionally analyze consumer motivations, which in turn makes it possible to highly segment consumers of works of fine art in accordance with their motivations. Conclusions. The article defines and analyzes the model of consumption of fine arts by symbolic appropriation, and, accordingly, describes the group (segment) of consumers. We are talking about symbolic consumption, which is associated with the possibility of obtaining aesthetic pleasure through the symbolic appropriation of the work without material possession. It is also proved that consumer behavior in art marketing is determined by three mandatory components: Individual - Product - Situation. It is on these components that the types of motivation are formed, on which the model of consumption and consumer behavior is built. Thus, we have studied individuals who consume works of art, which in turn are products presented in exhibition halls, and we have studied the situations of consumption of works of art that are consumed by symbolic appropriation in exhibitions.
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