scholarly journals The Problem of Artistic Form and the Objectives of Fine Arts Pedagogy

2016 ◽  
Vol 8 (3) ◽  
pp. 72-82
Author(s):  
Alexandr V Sveshnikov
Keyword(s):  
Common Ground ◽  
Fundamental Problem ◽  
Fine Arts ◽  
Traditional Education ◽  
Art Form ◽  
Object Based ◽  
Historic Development ◽  
Academic School ◽  
Traditional Approaches ◽  
Holistic Vision

The widespread tendencies in art to focus on the expression of subjective attitude to an event rather than on accurate depiction of an object have led to an increasingly strong opinion that basic academic literacy has lost its former practicality. Art pedagogy theory often treats the classical and modern education methods as the opposites. Traditional education is claimed to be incompatible with the resolution of modern creative questions, and the instruction methods of the past are seen as outdated and unnecessary. Such contrasting of the old and the new fails to consider the existence of a common pillar, of the main illustrative and interpretative objective, which is instrumental in providing the artistic meaningfulness equally to object-based or object-less art forms. The need to establish a necessary common ground, to resolve that universal fundamental problem at the very beginning of any educational journey, becomes therefore overlooked. This authors argument for the importance of treating such a common objective as a pedagogic cornerstone is based on selected conceptual themes from the works of A. Hildebrand and G. Wlfflin, two classics of art criticism. It is hereby attempted to demonstrate the existence of certain fundamental principles, indispensable for any of the pedagogic schools. In particular, A. Hildebrand pointed out the importance of the distance seeing, which reveals the necessary general identifying impression given by an event or an object, leading to seeing them as a whole, uniting all the separate parts of their image. Classical academic and contemporary schools, in relation to this global ability, differ only in their means of expression, and the argument between them appears to have no ground. Such conclusions are in agreement with the stand of G. Wlfflin, a distinguished art historian and critic. In his studies of the historic development of art form from objective clarity to subjective relative clarity of the objective sphere, he showed that we are dealing here with methodological variations rather than with different views on the core pedagogical values. Different schools of art, and both modern and traditional approaches to art education have therefore a common ground: forming of holistic vision in the student. It is important to keep in mind that, depending on their type of artistic thinking, some students would be able to better reach this goal within the framework of the academic school, and others, on the contrary, while mastering modern forms of art.

scholarly journals The Problem of Artistic Form and the Objectives of Fine Arts Pedagogy

2016 ◽  
Vol 8 (4) ◽  
pp. 98-107
Author(s):  
Alexander V Sveshnikov
Keyword(s):  
Common Ground ◽  
Fundamental Problem ◽  
Fine Arts ◽  
Traditional Education ◽  
Art Form ◽  
Object Based ◽  
Historic Development ◽  
Academic School ◽  
Traditional Approaches ◽  
Holistic Vision

The widespread tendencies in art to focus on the expression of subjective attitude to an event rather than on accurate depiction of an object have led to an increasingly strong opinion that basic academic literacy has lost its former practicality. Art pedagogic theory often treats the classical and modern education methods as opposites. Traditional education is claimed to be incompatible with the resolution of modern creative questions, and the instruction methods of the past are considered as outdated and unnecessary. Such contradistinction of the old and the new fails to consider the existence of a common pillar, of the main illustrative and interpretative objective, which is instrumental in providing the artistic meaningfulness equally to object-based or object-less art forms. The need to establish a necessary common ground, to resolve that universal fundamental problem at the very beginning of any educational journey, becomes therefore overlooked. This authors argument in favour of the importance of treating such a common objective as a pedagogic cornerstone is based on selected conceptual themes from the works by A. Hildebrand and G. Wlfflin, two classics of art criticism. It is hereby attempted to demonstrate the existence of certain fundamental principles, indispensable for any of the pedagogic schools. In particular, A. Hildebrand pinpointed the importance of the distance seeing, which reveals the necessary general identifying impression given by an event or an object, leading to considering them as a whole, uniting all the separate parts of their image. In relation to this global ability classical academic and contemporary schools differ only in their means of expression, and the argument between them appears to have no ground. Such conclusions are in agreement with the stand of G. Wlfflin, a distinguished art historian and critic. In his studies of the historic development of art form from objective clarity to subjective relative clarity of the objective sphere, he showed that we are dealing here with methodological variations rather than with different views on the core pedagogical values. Different schools of art, and both contemporary and traditional approaches to art education have therefore a common ground: forming of a holistic vision of the student. It is important to keep in mind that, depending on their type of artistic thinking, some students would be able to better reach this goal within the framework of the academic school, and others, on the contrary, while mastering modern forms of art.

Rethinking the Naming of Sex Crime Victims

1995 ◽  
Vol 16 (3) ◽  
pp. 96-112 ◽  
Author(s):  
Jay Black
Keyword(s):  
Ethical Dilemma ◽  
Common Ground ◽  
Crime Victims ◽  
Sex Crimes ◽  
Traditional Approaches ◽  
Sex Crime

This commentary attempts to work through the news media's ethical dilemma of covering sex crimes so that victims' rights advocates and media personnel can find common ground. Traditional approaches to sex crimes—using craft-based, professionally oriented definitions of news—should be replaced with ethically principled orientations toward news once concerns over “rights” are augmented with concerns over “duties.”

scholarly journals Laboratory automation impact on antimicrobial resistance

2019 ◽  
Vol 40 (2) ◽  
pp. 66
Author(s):  
Patrick R Murray
Keyword(s):  
Fundamental Problem ◽  
Test Methods ◽  
Rapid Diagnosis ◽  
Laboratory Automation ◽  
Test Results ◽  
Clinical Value ◽  
Bacterial Cultures ◽  
Identification Of Bacteria ◽  
Diagnostic Microbiology ◽  
Traditional Approaches

Antibiotic resistance in common bacterial pathogens, such as Staphylococcus aureus, Escherichia coli, and Klebsiella pneumoniae, has significantly limited the therapeutic options available for management of infectious diseases. While the indiscriminant use of broad spectrum antibiotics is a significant contributing factor, a more fundamental problem exists. Diagnostic microbiology test results have historically been available too late to be useful. This is, in part, due to the nature of the test methods and in part due to workflow practices in the laboratory. Thus, patients remain on empiric treatments that are frequently ineffective or unnecessarily too broad spectrum1,2. Microscopy and bacterial cultures are mainstays in the microbiology lab, using techniques developed more than 100 years ago. Although microbiologists speak with pride about the ‘art' of their science, the clinical value of the diagnostic tests is frequently lost because of the delays in reporting results with these ‘traditional' approaches. Fortunately, the practice of clinical microbiology is undergoing a dramatic transformation with the introduction of molecular diagnostics, primarily for rapid diagnosis of infections caused by viruses and difficult to grow bacteria, MALDI-TOF mass spectrometry for identification of bacteria, mycobacteria and fungi, and automation of all practices in bacteriology.

scholarly journals Reception of Antiquity through Flemish Tapestries of the 15th–16th Centuries (Based on the Collection of the State Hermitage Museum)

2020 ◽  
Vol 162 (6) ◽  
pp. 74-85
Author(s):  
M.A. Manokhina ◽  
Keyword(s):  
Fine Arts ◽  
Research Field ◽  
The State ◽  
The Political ◽  
Special Role ◽  
Political Reality ◽  
Art Form ◽  
Literary Sources ◽  
The One ◽  
High Social Status

The problem of reception of the antiquity through tapestries in the Russian historiography was considered. Using as an example the Flemish tapestries of the 15th–16th centuries from the Collection of the State Hermitage Museum, the transformation and popularity of ancient motifs in this art form were demonstrated, as well as their special role in the propaganda of power, high social status, and wealth. The following main elements of tapestries were analyzed: subjects, characters, costumes, and Latin banderoles. The methodology of tapestry analysis is similar to the one used by structuralists: an additional link (customer) is introduced in the author – text – reader research field. The subjects of the tapestries were compared with the plots of the corresponding ancient literary sources. As a result, it was concluded about different perception of the antiquity in the literature and fine arts. Tapestries reflect the attitude of customers to the political reality of that time. The Northern Renaissance and how it was influenced by the ideas of humanists embodied in the tapestries was discussed.

scholarly journals GRAPHIC LITERATURE: DEFINITIONS, HISTORY, COMPONENTS

2021 ◽  
pp. 29-37
Author(s):  
Nataliia Belichko ◽  
Nadiia Marchenko
Keyword(s):  
Fine Arts ◽  
Main Idea ◽  
Negative Attitude ◽  
Special Kind ◽  
Basic Structure ◽  
Literary Work ◽  
Point Of View ◽  
Past Century ◽  
Art Form ◽  
History Of

Abstract. The article defines for the first time the concept of graphic literature a special kind of book and magazine graphics, which has become widespread in world art practice over the past century. It emphasizes that graphic literature combines elements of fine arts, literature, and cinema. It reveals the essence of graphic literature in the narrative of history through a sequence of images. It reviews the history of formation and development of this art form in world and Ukrainian art history. It outlines the specific features of graphic literature in certain countries. It gives the names of personalities who influenced its origin and spread around the world. The article is mainly focused on the analysis of the history of graphic literature development in Ukraine. It outlines the contribution of Ukrainian artists of the 20th century to its development. It emphasizes the reasons for the negative attitude to graphic works of literature in Soviet times. It considers in detail the spread of works of graphic literature in Ukraine at the beginning of the 21st century. It names Ukrainian personalities and specialized publishing houses that actively develop modern graphic literature. It outlines the basic structure, some important elements, and technique of graphic works. It emphasizes the similarity of the design of works of graphic and fiction. It reveals the main purpose of graphic literature in the most effective way to convey the main idea of a literary work to the reader and to get him/her interested with the help of visual images. It examines the genre diversity of graphic literature in Ukraine in the last decade. It analyses the dependence of the genres of graphic works on the age restrictions of the readership. It reveals the necessity to further study and analyse such graphic works from the art point of view. Graphic literature combines publications in which the narration is conveyed through hand-drawn and textual images in a certain sequence.

scholarly journals Space in Art and Cinema

2011 ◽  
Vol 3 (2) ◽  
pp. 58-64
Author(s):  
Anatoliy Anatolievich Sedlovskiy
Keyword(s):  
Fine Arts ◽  
Art Form ◽  
Color Treatment ◽  
Screen Space

Cinema is a synthetic art form which has accumulated the experience of theatre, literature, music and fine arts. The article investigates the influence of painting on cinema in terms of filling the screen space and artistic assimilation of the linear, spatial and tonal perspective, light and color treatment.

Observations on static and cyclic sand-liquefaction methodologies

1992 ◽  
Vol 29 (4) ◽  
pp. 650-665 ◽  
Author(s):  
E. C. McRoberts ◽  
J. A. Sladen
Keyword(s):  
Steady State ◽  
Common Ground ◽  
Input Parameter ◽  
Liquefaction Potential ◽  
Sand Liquefaction ◽  
Cyclic Mobility ◽  
State Of Practice ◽  
Traditional Approaches ◽  
Future Work ◽  
Cyclic Approach

The paper focuses on a review of elements of the liquefaction of sand. Consideration is given to both the static and cyclic approach, and the bases for many of the divergent opinions that currently exist are given. The objective of the paper is to state the arguments and to explore common ground. By considering the inconsistencies that currently exist it is hoped that future work will address issues raised. The real difficulties associated with measurement of the parameters necessary for existing design approaches are highlighted. Because of these difficulties, it is prudent to consider several methods when evaluating liquefaction potential, and practising engineers must often rely on traditional approaches. The state of practice would be improved more by research to address these difficulties than by the development of more elaborate methods of analysis, which are often not justified by the level of precision associated with input parameter measurements. Key words : liquefaction, steady-state, cyclic mobility, critical state.

scholarly journals Problems and solution proposals of cinema education in TurkeyTürkiye’de sinema eğitiminin sorunları ve çözüm önerileri

2018 ◽  
Vol 15 (1) ◽  
pp. 182
Author(s):  
Nuray Hilal Tuğan
Keyword(s):  
Visual Arts ◽  
Fine Arts ◽  
English Summary ◽  
Academic Education ◽  
Late 19Th Century ◽  
Dual Approach ◽  
Binary Structure ◽  
Art Form ◽  
Bilateral Approach ◽  
Education In Turkey

The cinema that emerged in the late 19th century is one of the newest forms of art. Therefore, it is necessary to evaluate the education of cinema which is a visual arts field in art education. Cinema education in our country started in the middle of the 1970s and took its place in academic education as one of the departments of the Faculty of Fine Arts and the Faculty of Communication. However, this binary structure has brought the tendency to treat cinema as a science in the Faculty of Communication and as an art form in Faculty of Fine Arts. In this study, it was tried to show that the lack of the bilateral approach to cinema education was discussed, then cinema was taken as a multidimensional phenomenon and it required an education that was designed to overcome this dual approach. When approaching cinema as a multidimensional phenomenon, it was firstly reached that television and cinema education should be arranged in a way to have a different academic viewpoint, and that the reception of students with cinema education by center examination is counterproductive to the nature of cinema as an art scene.Extended English summary is in the end of Full Text PDF (TURKISH) file. Özet19. Yüzyılın sonlarında ortaya çıkan sinema en yeni sanat formlarından biridir. Dolayısıyla görsel bir sanat dalı olan sinemanın eğitimini de sanat eğitimi içerisinde değerlendirmek gerekmektedir. Ülkemizde sinema eğitimi 1970’lerin ortalarında başlamış, günümüze kadar geçen süreçte Güzel Sanatlar Fakültelerinin ve İletişim Fakültelerinin bölümlerinden biri olarak akademik eğitimde yerini almıştır. Ancak bu ikili yapı İletişim Fakülteleri’nde sinemayı bir bilim olarak, Güzel Sanatlar Fakülteleri’nde ise bir sanat formu olarak ele alma eğilimini de beraberinde getirmiştir. Bu çalışmada sinema eğitimine söz konusu ikili yaklaşımın eksiklikleri tartışılmış, ardından sinema çok boyutlu bir olgu biçiminde ele alınarak bu ikili yaklaşımı aşacak bir bakış açısıyla oluşturulmuş bir eğitimi gerektirdiği ortaya koyulmuştur.  Sinemaya çok boyutlu bir olgu olarak yaklaşıldığında öncelikle televizyon ve sinema eğitimlerinin birbirinden ayrı akademik bakış açısına sahip olacak şekilde düzenlenmesi gerektiği ve sinema eğitimi veren fakültelere merkezi sınavla öğrenci alımının bir sanat dalı olarak sinemanın doğasına ters düştüğü sonucuna ulaşılmıştır. 

scholarly journals ‘Mōhiti E’: Empowering (Trans) Indigenous Performance

Te Kaharoa ◽  
2016 ◽  
Vol 9 (1) ◽  
Author(s):  
Valance Smith
Keyword(s):  
Native American ◽  
Common Ground ◽  
Cultural Performance ◽  
Dance Company ◽  
Art Form ◽  
Living Things ◽  
Starting Point ◽  
Scientific Nature ◽  
Pascua Yaqui ◽  
The Ideal

How might a collaborative performance staged across indigenous cultures – in this case Māori and Native American – be seen to create a shared wairua that leads to mārama? For this Symposium, Valance Smith (Ngāpuhi/Waikato) will compose a waiata as the starting point for a hoop dance choreographed and performed by Eddie Madril (Pascua Yaqui) from the Sewan American Indian Dance company. Waiata is, at its simplest, song. It is a vessel for a kaupapa, in the lyrics and also in its music, an embodiment of the singer’s mauri that, in the ideal, resonates in the listener. Hoop dancing has many purposes. It describes the complexities of life, expresses many aspects of the scientific nature of the world through the art form, and invokes the meaning behind the cycle of all living things. In bringing together two distinctive performance languages and cultures, we will be looking for common ground, exploring possible synergies and seeking an experience of the metaphysical in the physicality of our song and dance that can be translated back into a deeper understanding of the potential power of (trans) indigenous performance. How might such a shared, cross-cultural performance not only inform the way we think about the particular practices involved, but also challenge our assumptions about what it means, both in theory and in practice, to perform as Māori and as Native American?

scholarly journals AN UNSUPERVISED SEGMENTATION METHOD FOR REMOTE SENSING IMAGERY BASED ON CONDITIONAL RANDOM FIELDS

2020 ◽  
Vol XLII-3/W12-2020 ◽  
pp. 91-95
Author(s):  
A. R. Soares ◽  
T. S. Körting ◽  
L. M. G. Fonseca ◽  
A. K. Neves
Keyword(s):  
Remote Sensing ◽  
Random Fields ◽  
Conditional Random Fields ◽  
Fundamental Problem ◽  
Unsupervised Classification ◽  
Unsupervised Segmentation ◽  
Object Based Image Analysis ◽  
Object Based ◽  
Geographic Object ◽  
Common Operation

Abstract. Segmentation is a fundamental problem in image processing and a common operation in Remote Sensing, which has been widely used especially in Geographic Object-Based Image Analysis (GEOBIA). In this paper, we propose a new unsupervised segmentation algorithm based on the Conditional Random Fields (CRF) theory. The method relies on two levels of information: (1) that comes from an unsupervised classification with Fuzzy C-Means algorithm; (2) the 8-connected neighbourhood of a pixel. The algorithm was tested on a WorldView-2 multispectral image, with 2 m of spatial resolution. Results were evaluated using 6 quality measures, and their performance was compared with other image segmentation algorithms that are usually applied by the Remote Sensing community. Results indicate that the proposed algorithm achieved superior overall performance when compared others, despite some over-segmentation.

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