RENDERING AESTHETIC IMPRESSIONS OF TEXT IN COLOR SPACE

2006 ◽  
Vol 15 (04) ◽  
pp. 515-550 ◽  
Author(s):  
HUGO LIU ◽  
PATTIE MAES
Keyword(s):  
Twentieth Century ◽  
Computer Program ◽  
Computational Model ◽  
Abstract Expressionism ◽  
Color Space ◽  
Early Twentieth Century ◽  
Song Lyrics ◽  
Psychological Functions ◽  
The Aesthetic ◽  
Narrative Understanding

What is an artwork and how could a machine become artist? This paper addresses the provocative question by theorizing a computational model of aesthetics and implementing the Aesthetiscope—a computer program that portrays aesthetic impressions of text and renders an abstract color grid artwork reminiscent of early twentieth century abstract expressionism. Following Dewey's psychological interpretation of "aesthetic" and Jung's ontology of fundamental psychological functions, we theorize that a viewer finds an artwork moving and satisfying because it seduces her into rich evocations of thoughts, sensations, intuitions, and feelings. The Aesthetiscope embodies this theory and aims to generate color grids paired with inspiration texts (a word, a poem, or song lyrics), which can be received as aesthetic and artistic by a viewer. The paper describes five Jungian aesthetic readers which are together capable of creative narrative understanding, and three color-logics that employ psycho-semantic principles to render the aesthetic readings in color space. Evaluations of the Aesthetiscope revealed that the program is best at portraying intuition and feeling, and that overall, the Aesthetiscope is capable of creating the aesthetic of art based on an inspiration text in a non-arbitrary way.

Ugliness, Underground, Queer Difference

2018 ◽  
pp. 1-25
Author(s):  
Yetta Howard
Keyword(s):  
Twentieth Century ◽  
Cultural Production ◽  
Literary History ◽  
Gertrude Stein ◽  
Avant Garde ◽  
Claude Mckay ◽  
Early Twentieth Century ◽  
The Aesthetic ◽  
Theoretical Overview

The introductory chapter of Ugly Differences provides a theoretical overview of the book and its central interventions on the concepts of ugliness and the underground. It turns to early-twentieth-century examples by Gertrude Stein and Claude McKay to frame genealogical connections between ugliness and queer female difference. This literary history highlights the roles that avant-garde, experimental, primitivist, and vernacular approaches to cultural production play in reflecting nondominant subjects whose differences are routed through de-privileged sites of the aesthetic.

Default Settings

2019 ◽  
pp. 33-62
Author(s):  
Leonard Diepeveen
Keyword(s):  
Twentieth Century ◽  
Methodological Issues ◽  
Early Twentieth Century ◽  
The Aesthetic

Chapter 2 takes on methodological issues arising from the manner in which fraud discourse entered culture. It considers the place of ordinary intellectuals, and fraud discourse’s large presence in daily and weekly journalism, including the aesthetic principles that could be invoked but did not need to be argued for. It considers how this default aesthetic worked when it was at rest, comfortably interacting with works that responded well to its modes of analysis. It then turns to this aesthetic when it was under stress, dealing with modernist works that resisted its forms of analysis. The chapter then considers modernist criticism’s irritations with the standard criticism of the time, and to the place of evidence in early twentieth-century aesthetic argument. It ends with the function of journalism’s gestures of refusal to engage with modernism, and the functions of jokes and doggerel in that refusal.

scholarly journals “Spirit of Russia” in the Song Lyrics About the City of Yelets

2020 ◽  
Vol 18 (2) ◽  
pp. 298-312
Author(s):  
Nataliya A. Trubitsina
Keyword(s):  
Twentieth Century ◽  
Urban Space ◽  
Native Land ◽  
Cultural Codes ◽  
Early Twentieth Century ◽  
Song Lyrics ◽  
The City

<p>The paper attempts to substantiate the opinion of Professor I.&nbsp;A.&nbsp;Esaulov about the special &ldquo;spirit&rdquo; of Russia present in the urban space of the ancient provincial Yelets. The analysis uses the song lyrics of local poets of the early twentieth century, published in 1996 in the almanac &ldquo;Yeletskaya byl&rdquo;. The author comes to the conclusion that the Yelets poets in their works conveyed the unique flavor of their native land by means of contamination of the main cultural codes of the Yelets text&nbsp;&mdash; Yelets Orthodox, Yelets merchant, Yelets-a city of military glory. Local mythology played a&nbsp;major role in the formation of the Yelets text of culture. The appearance of the mother of God at Yelets to Khan Tamerlane, after which there was a miraculous escape from the ruin of Moscow and all Russia, became a &ldquo;starting&rdquo; event for the perception of Yelets as a sacred city under the patronage of the mother of God. The widespread use of Orthodox symbols in the song lyrics about Yelets emphasizes the predominance of the religious and spiritual component over the visual and secular landscape of the city.</p>

scholarly journals “It was one’s body feeling, not one’s mind”

2019 ◽  
Author(s):  
Chloe Leung
Keyword(s):  
Twentieth Century ◽  
Virginia Woolf ◽  
Close Reading ◽  
The Novel ◽  
Bloomsbury Group ◽  
To The Lighthouse ◽  
Early Twentieth Century ◽  
Physical Gestures ◽  
The Aesthetic ◽  
The Mind

The Russian ballet was celebrated amongst the Bloomsbury group in the early twentieth-century. Throughout 1910s-1930s, Virginia Woolf enjoyed Russian ballets such as Petrushka, Le Spectre de la Rose and Scheherazade staged by Michel Fokine and Sergei Diaghilev. The expressivity of the dancing body rectifies words which, as Woolf delineates in “Craftsmanship,” are dishonest in articulating emotions (Selected Essays 85). This paper thus divulges an oppositional thinking that belies Woolf’s modernist aesthetics – a compulsion to give words to emotions that should be left unsaid. In To the Lighthouse (1928), this “silence” is communicated in the dancing gestures that populate the novel. Juxtaposing the context of Woolf’s attendance at the ballet with her concurrent composition of Lighthouse, I shall argue that the aesthetic convergence between Woolf’s prose and the Russian ballet is not a coincidence – that Woolf very much had the ballet in mind when she wrote. Woolf’s and the Russian ballet’s shared aesthetics however, do not characterise this paper as a study of influence the Russian ballet had on Woolf. Rather, Woolf involuntarily deploys the language of dance/ballet in articulating ineffable emotions. I will offer a close reading that scrutinizes the underexplored physical gestures of Mr and Mrs Ramsay with a perspective of dance. In projecting emotions, Woolf’s novel sketches a reciprocal network between the dancing body and the mind. I conclude by suggesting that the communicational lapses do not sentence the failure of but sustain human kinship. By extension, the Russian balletic presentation of the dancing body will also reanimate the mind-body conundrum that has haunted academia for centuries.

Faces of Protest: Yiddish Cartoons of the 1905 Revolution

Slavic Review ◽  
2002 ◽  
Vol 61 (4) ◽  
pp. 732-761 ◽  
Author(s):  
Sarah Abrevaya Stein
Keyword(s):  
Twentieth Century ◽  
Popular Opinion ◽  
Early Twentieth Century ◽  
The World ◽  
Yiddish Press ◽  
The Aesthetic ◽  
Socialist Politics ◽  
The Revolution

This article turns to an unexplored genre of Russian letters—the Yiddish cartoon—in order to consider how the most popular Russian Jewish newspaper of the early twentieth century participated in the Revolution of 1905-07. By exploring cartoons published in Derfraynd (St. Petersburg, 1903-1913, renamed Dos lebn February-July 1906) Sarah Abrevaya Stein reflects on how the Yiddish press reflected and shaped evolutions in Russian Jewish popular opinion: in particular, the temporary shift away from nationalist and toward opposition and socialist politics. This article also considers why the revolution ended in the world of Yiddish letters some months earlier than it did in the Russian, in the wake of the Bialystok pogroms of June 1906. This event, Stein demonstrates, catalyzed a redirection in the aesthetic and political tenor of popular Yiddish sources, prompting the cartoon to be replaced with the photograph and the politics of opposition with nationalism.

scholarly journals Urban Progress as Noise: a Commentary

2019 ◽  
Vol 7 (1) ◽  
pp. 486-491
Author(s):  
Meri Kytö
Keyword(s):  
Twentieth Century ◽  
Working Conditions ◽  
Acoustic Communication ◽  
Urban Landscape ◽  
Early Twentieth Century ◽  
The Aesthetic ◽  
The Masses

This essay is a commentary on the essays of Annelies Jacobs, Nimrod Ben Zeev and Jens van de Maele. These pieces tackle the theme of urbanization and noise as three separate but intertwined discussions: unwanted sounds in Amsterdam cityscape, loud working conditions in Palestinian limekilns and ‘auditory visibility’ in offices in Britain and France. Reading the texts in resonance with the aesthetic ponderings of the futurists, one can hear the early-twentieth-century discussions of noise in two ways. Noise was something that needed regulation but at the same time it was the inescapable sign of the modern. Noise as ‘nonmusical sound’ turns into noise as a disturbance in the system of acoustic communication and into noise as the presence of power, technology and the masses in the urban landscape.

Cycladic Figurines

2017 ◽  
Author(s):  
Colin Renfrew
Keyword(s):  
Twentieth Century ◽  
Bronze Age ◽  
Early Bronze Age ◽  
Early Twentieth Century ◽  
Marble Sculptures ◽  
The Aesthetic ◽  
Illicit Traffic

The marble sculptures of the Cycladic early bronze age (c.3200–2000 bc) are reviewed, with the schematic and the more detailed Plastiras and Louros forms of the Grotta-Pelos culture and the canonical folded-arm type of the Keros-Syros culture (some more than 1 m in height) with its five well-defined varieties (Kapsala, Spedos, Dokathismata, Chalandriani, and Koumasa), and the rare musicians and seated figurines. The possibility of specific workshop styles or subvarieties is discussed (and preferred to the hypothesis of potentially identifiable ‘master’ sculptors). The use of the sculptures in houses, in graves, and in the special deposits at the sanctuary at Keros is discussed. The aesthetic esteem in which the sculptures have been held by collectors since the early twentieth century has given rise to looting, the destruction of archaeological context, and the illicit traffic in Cycladic antiquities.

scholarly journals Novák's Lucerna and the Historiographical Problem of "Czech Modernism"

2012 ◽  
Vol 26 (1) ◽  
pp. 86-112
Author(s):  
Brian Locke
Keyword(s):  
Twentieth Century ◽  
Interwar Period ◽  
Fin De Siecle ◽  
Traditional Values ◽  
Avant Garde ◽  
Early Twentieth Century ◽  
Czech Music ◽  
Fin De Siècle ◽  
Stylistic Influences ◽  
The Aesthetic

The opera Lucerna (premièred 1923) by the Czech composer Vitězslav Novák demonstrates the problematic position of Czech music in the historiography of the early twentieth century, since neither "avant-garde" nor "antimodernist" suffice for it as stylistic labels. A leader of Czech modernism during the fin de siècle, Novák's music embodies the aesthetic crisis his generation faced after 1918. Lucerna's score reveals a complex negotiation of multiple stylistic influences, including impressionism, folklore, and Strauss, paralleling the Czech community's hesitant acceptance of international modernism in the early interwar period. The opera's lack-lustre finale echoes the contemporaneous return to Czech traditional values, using Smetana as an anachronistic model for modernist opera.

scholarly journals The antitheatrical discourse in Ukrainian metadrama in the early twentieth century

2020 ◽  
Vol 11 (1) ◽  
pp. 251-259
Author(s):  
Svitlana Kocherga ◽  
Oleksandra Visych
Keyword(s):  
Twentieth Century ◽  
Literary Texts ◽  
Early Twentieth Century ◽  
Different Types ◽  
Artistic Interpretation ◽  
The Aesthetic

The article analyzes methods of implementing antitheatrical discourse in Ukrainian dramaturgy. Different types of antitheatricality in literary texts are distinguished on the basis of plays by M. Starytskyi, I. Karpenko-Karyi, A. Krushelnytskyi, V. Vynnychenko, Ya. Mamontiv, V. Cherednychenko, and M. Kulish. The authors define key vectors that the antitheatrical discourse follows: criticism of theater as an institution, criticism of the drama school / method, criticism of theatricality and acting, including in offstage situations. It is arguably reasonable to examine the phenomenon of antitheatrical prejudice in the context of the theory of metadrama as one of its factors. Artistic interpretation of the theater in an ironic or farcical vein, discussions over the repertoire that is no longer relevant, the aesthetic nature of stage technique, and discredit of acting as an occupation all generally encourage dramatic conventionality to double. Most common metadramatic devices used to implement antitheatricality in Ukrainian drama are believed to include a play within a play, adaptation of spectator’s reception for stage, and intertextual references.

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