The Terms of the Text

2021 ◽  
pp. 245-280
Author(s):  
Alison Rice
Keyword(s):  
Women Writers ◽  
Visual Arts ◽  
Personal Experience ◽  
Creative Work ◽  
Reading Experience ◽  
Bande Dessinee ◽  
Works Of Art ◽  
Art Forms ◽  
Photo Essay

Chapter 9 examines how unconventional written work is currently pushing the limits of our understanding of genre. Women from elsewhere are drawing from personal experience in order to disturb tired distinctions between “text” and “life” in imaginative fashions that reconfigure the reading experience. Their creative work is contributing to liberating these authors from overworked modes of expression and worn expectations, and allows them to break free from rigid definitions. It is significant that a number of worldwide women writers are now opting to compose works in a variety of creative forms ranging from the bande dessinée to the journal to the photo essay to récits of all sorts, expanding our conceptions of generic classification by playing with everything from titles to formats within the written work. This inventiveness includes a great deal of attention to visual arts and music, occasionally through the integration of works of art and musical notations in the text itself, and other times through allusions to artistic and musical pieces, or even through the construction of passages that liken literature to these other art forms. Authors are more and more impressively contributing to their own publishing profiles by writing “autobiographically” in variations that elude any clear categorization, but that reveal intimate details in texts that embody movement, progression, and development in exciting new terms.

scholarly journals Identity of the work of art

2010 ◽  
Vol 21 (2) ◽  
pp. 293-308
Author(s):  
Stefan Ristic
Keyword(s):  
Visual Arts ◽  
Physical Object ◽  
Ontological Status ◽  
Symbolic System ◽  
Work Of Art ◽  
Music And Literature ◽  
Works Of Art ◽  
The Arts ◽  
Art Forms ◽  
Definition Of

The paper intends to determine the identity of the work of art in visual arts, music and literature. The discussion is of ontological nature. Particular attention is given to the problem of imitation of works of art in different arts, making a distinction between two types of imitation: fakes and forgeries. The first type is found only within the arts where the work of art is a singular physical object, i.e. with the so called autographic arts, whereas the second type can also be found in other, allographic arts, although less commonly. The problem of the imitation of works of art is closely related with the issue concerning the possibility of reducing the work of art to a formal symbolic system which would serve as a definition of the work of art. The discussion shows that a consistent analysis of the ontological status of the work of art in different art forms provides results that may seem at the first glance unintuitive and surprising.

scholarly journals Alexander Burganov. In the depths above reality. (Antique motifs in the context of creative work)

2020 ◽  
Vol 16 (3) ◽  
pp. 61-70
Author(s):  
Nina Getashvili
Keyword(s):  
Intermediate State ◽  
Personal Experience ◽  
Ancient Greece ◽  
Cultural Tradition ◽  
Creative Work ◽  
Works Of Art ◽  
Modern Sculpture ◽  
House Museum ◽  
Frequent Presence ◽  
Sensory Reaction

For decades, images of antiquity have appeared in the creative work of academician Alexander Burganov. The sculptor declaratively emphasizes his focus on the cultural tradition which evolved from the cradle of Antiquity and which is, therefore, understandable to anyone who shares its humanistic ideals. The article refers to his personal exhibitions and events of the last decades: “Dreams Within Us. A Magic Crystal” at the Moscow Central House of Artists in 1987, “Magic Realism” in Germany in 1993, “Antique Motifs in Modern Sculpture” in the Burganov House Museum at which he presented his “legends and myths of Ancient Greece” in 2017, and the exhibition held in the Antique Hall in the Museum of Archeology of the Westphalian Wilhelm University of Münster in 2013. Works and cycles, never directly illustrating ancient mythology but unconsciously translating the archetypal, the transcendental through personal experience, a sensory reaction, are considered. The frequent presence of Burganov’s works of art in an “intermediate” state, in the process of transformation, which makes it easy to detect the surreal component, is their feature. Burganov’s "antique" sculptures organically exist not only in exhibition halls but also outside them - be it the courtyard of the Burganov House Museum or the square in Brussels where the sculptures in the window display of the Burganov House at the Grand Place are no less eye-catching than the monument in the same square. Noble restraint (with clearly readable spectacularity), bearing in itself, within itself, dreams and passions, reality and mysticism, gives Burganov’s "antique" images-metaphors a special feature that requires comprehension of the slow, at the same time the reasonable and the emotional in order to be able to penetrate the limits of the immanent artist’s impermeability.

scholarly journals Forensic Traceological Analysis of Works of Visual Arts

2020 ◽  
Vol 15 (3) ◽  
pp. 106-123
Author(s):  
Sh. N. Khaziev
Keyword(s):  
Visual Arts ◽  
Research Methodology ◽  
Essential Role ◽  
Forensic Analysis ◽  
Forensic Research ◽  
Works Of Art

The article discusses the fundamentals of traceological forensic analysis of visual artworks within both the framework of forensic traceological examination and comprehensive forensic research with the participation of expert-traceologists. Works of art are investigated to identify them, diagnose their condition, and establish the origin of various negative changes. Forensic traceology methods can play an essential role in the controversial attributions of paintings, drawings, and sculptures. The necessity and feasibility of developing a modern forensic traceological research methodology of fine artworks are substantiated.

scholarly journals Artificial intelligence in artistic practices

2021 ◽  
pp. 41-50
Author(s):  
Asmati Chibalashvili
Keyword(s):  
Neural Network ◽  
Artificial Intelligence ◽  
Visual Arts ◽  
Human Condition ◽  
Human Intervention ◽  
Basic Principles ◽  
Generative Art ◽  
Works Of Art ◽  
Artificial Intelligence Technology ◽  
Emotionally Intelligent

The article considers methods of involving artificial intelligence in artistic practices. Based on the analysis of ways to use this technology in visual arts and music, the basic principles of working with artificial intelligence technology are identified, including: imitation of historical art, implemented in projects The Next Rembrandt and Choral; generative art, which is found in the works “Hyperbolic Composition І” and “Hyperbolic Composition ІІ” of S. Eaton and also in the AIVA program (Artificial Intelligence Virtual Artist). The importance of the mechanisms of neurobiology in the process of working with artificial intelligence on the example of the project “Neural Zoo” of S. Crespo, Iamus program, in which the development of musical material is based on the principle of evolution, is stated. In the application Endel and in the opera “Emotionally intelligent” Artificially Intelligent Brainwave Opera» of E. Perlman, a neural network is used to read information about the human condition and its further processing for modification into a sound landscape or image. The development of artificial intelligence and its use in artistic practices opens up new opportunities, expanding both the field of authors of artistic content and attracting new audience. This phenomenon provokes many issues, including: the ability to think artificially of artificial intelligence, the ability to create works of art without human intervention, as well as issues related to copyright.

The cultural code in the visual arts system: specificity of formation and development

2020 ◽  
Vol 42 (1) ◽  
pp. 247-253
Author(s):  
Svetlana Syvorotkina ◽  
Keyword(s):  
Visual Arts ◽  
Visual Art ◽  
Fine Arts ◽  
Ancient Egypt ◽  
Medieval Art ◽  
Art Forms ◽  
Cultural Code ◽  
Historical Periods ◽  
Form Effect

The dialectical unity of the essence and the cultural code phenomenon regarding of the visual arts are dealt with in that article. Artworks are considered based on Lotman`s understanding of artwork as culture text. Discusses multiplicity of art forms and multifunctionality of arts form. Effect of changes in time and historical periods an impact on satisfaction of secular and profane human`s requirements. The author focuses on visual and illustrative forms of fine arts and focuses on analysis of traditional fine arts categories. The cultural code in visual art system is considered at Paleolithic artifacts, ancient Egypt`s art and medieval art examples.

scholarly journals ANALISIS FORMALISTIK DALAM MEMAKNAI SIMBOL BUDAYA MELAYU ABSTRAK

2015 ◽  
Vol 3 (2) ◽  
pp. 49-72
Author(s):  
LIZA MARZIANA MOHAMMAD NOH ◽  
HAMDZUN HARON ◽  
JASNI DOLAH
Keyword(s):  
Visual Arts ◽  
General Public ◽  
Modern Art ◽  
Fundamental Question ◽  
Work Of Art ◽  
Physical Data ◽  
Works Of Art ◽  
National Heritage ◽  
Analyze Data

Untuk menghayati sesebuah karya seni pokok persoalan yang hendak dikaji bukanlah keindahan sematamata tetapi unsur yang menyebabkan sesuatu simbol itu terjelma. Subjek, bentuk dan makna adalahtiga aspek dalam simbol yang menjadi asas kepada penghayatan sesebuah seni. Ketiga-tiganya salingberhubungan dan tidak boleh di pisahkan kerana daripadanya kesatuan karya terbentuk seterusnyamenjelaskan gagasan seniman. Demikian dalam memaknai karya, unsur seni adalah penting untuk dikajisebagai data fizikal yang bertindak dalam menghubungkan konteks sesuatu karya itu. Kertas kerja inimenerangkan penggunaan unsur-unsur formalistik untuk menganalisa data bagi memaknai simbol budayaMelayu dalam karya seni catan moden Malaysia. Dengan menjadikan Balai Seni Visual Negara sebagailokasi kajian, kertas kerja ini merujuk buku himpunan warisan tampak negara 1958-2003 terbitan BalaiSeni Visual Negara. Sebanyak empat karya di tahun 1970an sehingga 2000 dipilih bagi menyiasat bentukdan maknanya. Sebagai kesimpulan, kertas kerja ini diharapkan dapat mendedahkan kepada masyarakatumum dan peminat seni khususnya mengenai analisis formalistik sebagai satu cara menganalisa karyaseni. In appreciate of a work of art the fundamental question to be examined is not the sheer beauty but anelement that causes a transformed symbol. Subject, form and meaning in symbols are three aspects thatare fundamental to the appreciation of art. All three are interconnected and cannot be separated to formthe whole aert work and subsequently to define the notion of artistism. Thus in defining an art work, artis an important element to be studied as the physical data in relating the context of the piece of artwork.This paper describes the use of formalistic elements to analyze data to interpret the symbol of Malayculture in Malaysian modern art paintings. By making the National Visual Arts Gallery as the locationfor research, this paper refers to the compilation books of national heritage published in 1958-2003 byNational Visual Arts Gallery. A total of four works from 1970s up to 2000 are selected to investigatethe forms and meanings. In conclusion, this paper is expected to disclose to the general public and artenthusiasts in particular on formalistic analysis as a means of analyzing works of art.

scholarly journals A Review on Role of Spirituality at Workplace

2016 ◽  
Vol 3 (3) ◽  
Author(s):  
Sudendra Singh ◽  
Dr. Prashant Mishra
Keyword(s):  
Personal Experience ◽  
Spiritual Intelligence ◽  
Creative Work ◽  
Higher Power ◽  
Organizational Spirituality

Spirituality in an organization helps people to do creative work, insightful, the development of rules and overcoming the fear of failures. Results of current studies suggest that spirituality in the organization can play an important role in effectively managing people in the organization. Organizational Spirituality also implies the opportunity to grow and contribute to something substantial. .Spiritual Quotient is a process of insight and personal experience, not a set of beliefs. Spiritual Intelligence is also called “wisdom” or the application of knowledge. There is a purpose for everything and everyone. There is a higher power that affects everything. Spirituality is the feeling that no matter how bad things happen; they will always work out somehow.

scholarly journals PSIKOLOGIS DALAM SENI: KATARSIS SEBAGAI REPRESENTASI DALAM KARYA SENI RUPA

2020 ◽  
Vol 2 (2) ◽  
pp. 105
Author(s):  
Ernawati Ernawati
Keyword(s):  
Visual Arts ◽  
Personal Experience ◽  
Visual Art ◽  
Qualitative Method ◽  
Multidisciplinary Approach ◽  
Visual Image ◽  
Psychological Aspects ◽  
Visual Elements ◽  
The Arts

Tujuan penelitian ini adalah mengungkap peran aspek psikologis katarsis dalam karya seni rupa. Prinsip seputar psikis dapat dipraktikan dalam karya seni, salahsatunya gerakan seni rupa kontemporer. Kajian karya berdasarkan aspek psikologis, salah satunya katarsis termasuk hal yang krusial untuk dilakukan.  Metode pada penelitian ini menerapkan metode kualitatif dengan pendekatan multidisiplin (psikologi seni dan semiotika). Hasil penelitian menunjukkan bahwa Perspektif lebih obyektif karena seniman sebagai kreator berbanding lurus dengan karya yang disajikan. Elemen visual yang dipilih dan disajikan seniman tersusun berdasarkan kemampuan kreatif menyusun citra visual yang berangkat dari aspek pengalaman yaitu berupa rasa khawatir/kegelisahan atau ketakutan yang mendasarinya dalam berkarya. Karya seni yang terwujud representasi dari dunia psikis seniman sebagai kreator. Pendekatan psikologis dalam berkarya dengan dipadukan kemampuan akademik dari aspek keilmuan seni rupa setidaknya mampu memperkaya keilmuan dalam keberagaman seni rupa. Dalam konstelasi seni rupa Indonesia kontemporer, kajian dari perspektif psikologis, khususnya katarsis pada karya seni berelasi dengan psikobiografi atau pengalaman pribadi seniman. This research aims to explore the role of catharsis psychological aspects in visual artwork. The principle surrounding the psychic can be practiced in the artwork. One of them is contemporary art movements. A study of works based on psychological aspects, one of which is cathartic includes the crucial thing to do.  The method in this study implements a qualitative method with a multidisciplinary approach (the psychology of Art and semiotics). The results show that perspective is more objective because the artist as a creator is directly proportional to the work showed.The selected and presented visual elements by the artist are arranged based on a creative ability to compose a visual image that influences the experience aspect of worry/anxiety or fear underlying it in the works. The artwork embodied is a representation of the part of a psychic artist as creator. The psychological approach of working combined with the academic ability of the science aspect of the arts is at least, capable of enriching science in the diversity of visual arts. In the constellation of contemporary Indonesian visual art, a study from a psychological perspective, especially catharsis on artwork relates to a psychobiography or an artist's personal experience.

scholarly journals Il'ya Aleksandrovich Gruzdev – researcher of Maxim Gorky's creative heritage

2019 ◽  
pp. 120-125
Author(s):  
Ol'ga V. Bystrova
Keyword(s):  
Publishing House ◽  
The State ◽  
Creative Work ◽  
Literary Critic ◽  
Proletarian Literature ◽  
Works Of Art ◽  
Maxim Gorky

The article is devoted to literary critic Il'ya Gruzdev. Published in 1925, an essay on the biography of Maxim Gorky, firmly linked the two names. Since that time, the author had firmly established a creative characteristic: the biographer of Maxim Gorky. The article considers other facets of literary and literary talent of Il'ya Gruzdev. The origin of the textology of Maxim Gorky's works of art is connected with his name. He was the compiler and editor of two editions of the works of the proletarian literature founder in the "State publishing house of fiction" in 1928-1930 and 1931-1934. For the researchers of Maxim Gorky's work, as a huge factual material, there is a correspondence between Maxim Gorky and Il'ya Gruzdev, which lasted from 1925 to 1936 (it was published in 1961). The article touches upon the issues of Il'ya Gruzdev's creative work after Maxim Gorky's death (1936). In the period from 1939 to 1941, he was the editor of Leningrad magazine "Zvezda" (Star). Attention is drawn to the bibliographic work of Il'ya Gruzdev, who was the author of a number of bibliographic books devoted to Maxim Gorky.

scholarly journals Creative derivatives the poetics of derivation and its formative assumptions

2021 ◽  
pp. 233-252
Author(s):  
Jagor Bučan
Keyword(s):  
The Other ◽  
Common Denominator ◽  
Creative Work ◽  
Work Of Art ◽  
Cognitive Insight ◽  
Other Hand ◽  
Works Of Art ◽  
Aesthetic Pleasure ◽  
The One ◽  
Existing Form

The creative derivatives phrase has in itself two terms: creativity (lat. creatus - having been created) and derivation (lat. derivatio - derivation, departure). Creativity presupposes the realisation of the new, the non-existent. Derivation, on the other hand, means transition, formation or arrangement. A derivative is what is derived or comes from something else (like gasoline which is a petroleum derivative). Creative derivations would therefore be processes in which a new is derived from the existing; procedures of rearranging the existing, conversion (transitioning) from one system to another. There are two basic requirements that are necessary for the realisation of these and such actions: an adequate poetic means and a common denominator of two or more phenomena, i.e. two or more systems that are brought into contact. We define the poetic means here in Jakobson's terms as the axis of combination (syntagm) and the axis of selection (paradigm). The paper systematises the poetic possibilities of artistic modeling, which is based on the template of already existing works of art. Different versions of the approach to modern and postmodern practice of taking over the already existing form and content aspects of a work of art are briefly explained and described. When choosing examples, the author adheres to the principle of representativeness instead of compendial comprehensiveness. The outcome of the paper should be twofold. On the one hand, the aim is to get to know and understand the poetics of taking over, which is one of the preconditions for aesthetic pleasure and cognitive insight when encountering works of art of that provenance. On the other hand, the work should be useful to students in their own creative work. The poetic means exhibited in it should facilitate a creative approach to the inexhaustible source of tradition.

Sign in / Sign up

Export Citation Format

Share Document