scholarly journals Kiev ex-libris school as a xylography traditions keeper in printmaking of modern Ukraine

2021 ◽  
Vol 12 (3) ◽  
pp. 39-45
Author(s):  
Julia Romanenkova ◽  
◽  
Anna Paliychuk ◽  
Vadym Mykhalchuk ◽  
◽  
...  
Keyword(s):  
Computer Graphics ◽  
Technological Process ◽  
21St Century ◽  
Work Of Art ◽  
Loss Process ◽  
Art Collectors ◽  
Independent Work ◽  
School Role

The article is dedicated to Kiev ex-libris school role (EL) in modern Ukrainian printmaking. The loss process by a bookplate of utilitarian, applied functions and its transformation into an independent work of art, collectors' object of interest with an appreciated art value is described. The ex-libris schools formed in the first quarter of the 21st century are emphasized, the main trends of the bookplate development predominant centers are defined (Kiev, Lvov, Odessa, Luhansk). Printmaking techniques, typical for a particular ex-libris school, are marked. Kiev bookplate school, as one of the leading centers for the classical xylography traditions preservation, is underlined. The most significant masters, working in these techniques, are presented, the technological process evolution is indicated and its main reasons are emphasized. The problem of opposition between the old and new in the art of printmaking is touched upon by example of classical techniques and gathering momentum computer graphics (CGA) coexistence.

Computer Graphics Reflection in African Digital Age Visual Designs

2015 ◽  
pp. 291-302 ◽  
Author(s):  
Bankole E. Oladumiye
Keyword(s):  
Computer Graphics ◽  
21St Century ◽  
Computer Graphic ◽  
Intrinsic Value ◽  
Original System ◽  
Digital Age ◽  
Digital Design ◽  
Visual Design ◽  
African People

African concept of visual design was derived from the concept of creation which has been noted to be the exclusive preserved of the gods. Design and art as it were, are created with intrinsic value such as inventions, innovations technical prowess and deep imagination. To create design in Africa content is unique therefore; design forms which keep on occurring in African arts obviously have significance in the life of those who created them for the purpose of aesthetics and beauty in African digital designs This paper is not mere description or just an historical narration of African digital design and visuals but centers on the deviation of African people from their original system of design and imbibing computer graphic digital application as an alternative to pen and paint box creative designs The paper concluded that the conventional African visual designs should be guided against because African design is center on values and experience which is concern with the essence of African personality and existence of transmission of design legacy from parents to children which leads to physical or merit pattern, which later becomes the object of perception, admiration, and utilization. Computer graphics and visual design reflection in African design is therefore cognitive reaction scientifically which implies conceptualization and, inspiration in 21st century.

scholarly journals Development of Massive Open Online Courses Based on 3D Computer Graphics and Multimedia

2019 ◽  
Vol 9 (4) ◽  
pp. 4
Author(s):  
Leonid Leonidovich Khoroshko ◽  
Peter A. Ukhov ◽  
Pavel P. Keyno
Keyword(s):  
Distance Learning ◽  
Computer Graphics ◽  
Online Courses ◽  
Three Dimensional ◽  
Massive Open Online Courses ◽  
Massive Open Online ◽  
Interactive Mode ◽  
Training Materials ◽  
Software Product ◽  
Independent Work

This work is devoted to the creation of a laboratory workshop (virtual) for open online courses based on programs of three-dimensional computer graphics and multimedia. The issues of using SolidWorks, Autodesk® 3DS MAX software in distance learning are discussed. The software was used to prepare training materials for the courses course "Machines and mechanisms theory", "Computer Graphics" and "Engineering and Computer Graphics". Using the software product SolidWorks, Autodesk® 3DS MAX has significantly increased the visibility of the course and develop tools for organizing the independent work of students in an interactive mode.

scholarly journals La Realidad Virtual en la Creación Artística: Conceptos, Tecnologías, Trayectoria y Actualidad

2019 ◽  
Vol 20 ◽  
pp. 131-146
Author(s):  
Águeda Simó
Keyword(s):  
Virtual Reality ◽  
Computer Graphics ◽  
21St Century ◽  
The Arts ◽  
Technological Advances ◽  
Physical Interfaces ◽  
The Creation

La aplicación de la Realidad Virtual (RV) en la creación artística se remonta a la década de 1990, cuando se comercializan losprimeros sistemas de RV. Sin embargo, los altos costos y lasdificultades técnicas para realizar y exhibir este tipo de obras limitaron la exploración artística de esta tecnología. En la segundadécada del s. XXI, la RV ha experimentado un renacimiento debido,en parte, a los avances tecnológicos en la computación gráfica y las interfaces físicas, bien como a su abaratamiento. Todos estos factores, están reimpulsado la utilización de la RV en las artes al facilitar la creación y exhibición de las obras. Virtual Reality (VR) art can be traced back to the 1990s, whenthe first VR systems were commercialized. However, the art exploration of this technology was limited due to the high costs and technical difficulties to create and exhibit VR artworks. In the second decade of the 21st century, VR has experienced a renaissance partly because of the technological advances in computer graphics and physical interfaces and the reduction of their cost. All these factors have revitalized the use of VR in the arts by facilitating the creation and exhibition of artworks.

scholarly journals Computer Graphics in Lighting Engineering Education: Teaching Photometry and the Basics of the Light Field

2021 ◽  
Author(s):  
Vladimir Budak ◽  
Denis Makarov
Keyword(s):  
Computer Graphics ◽  
Color Temperature ◽  
Traditional Teaching ◽  
Design Problems ◽  
Training Models ◽  
Road Lighting ◽  
Modern Level ◽  
Surrounding Space ◽  
Key Aspects ◽  
Independent Work

The modern level of computer graphics programs (CGP) has long been able to solve most design, architecture, and lighting design problems. However, the use of CGP in teaching students is still underestimated. The existing traditional teaching methods cannot effectively teach the basics of lighting engineering and photometry to students. This is especially true for the concepts of illumination that are difficult to understand – luminance (radiance), color temperature. The article offers a method of teaching photometry based on the wide use of CGP. Within the methodology framework, 3D laboratories were developed. Students can study the basics of lighting engineering and optical effects, visually observe most lighting quantities, see their relationship, and interact with the surrounding space and objects. More than ten 3D training models on interior, architectural, and road lighting have been modeled. Within each model, students are given tasks for independent work. Checking the received material from students at several leading Russian universities allowed us to conclude on the methodology's effectiveness and outline many key aspects of its development.

‘What, has this thing appeared again tonight?’

1994 ◽  
Vol 19 (2) ◽  
pp. 143-147
Author(s):  
Freddie Rokem
Keyword(s):  
Potential Range ◽  
Source Text ◽  
Work Of Art ◽  
Written Text ◽  
Dramatic Text ◽  
And Performance ◽  
Set Up ◽  
Independent Work ◽  
Point Of Departure ◽  
Performance Text

Performance analysis and performance theory have to deal in one way or another with the relationships between the written dramatic text and the stage performance of that text. The point of departure for most discussions of this issue is that the drama text through its staging is ‘translated’ or ‘transformed’ into a performance text but since the ontological status of the written and performed texts are fundamentally different it is virtually impossible to set up a clearly delineated hermeneutic procedure through which the new, ‘translated’ work of art, the performance text, can be analysed on the basis of the dramatic source text alone. It is quite evident, moreover, that the staging of a certain text is both a completely independent work of art, presented by live actors for an audience in the total context created especially for that performance and an ‘interpretation’ of another independent work of art, the dramatic text. The performance itself thus creates a special form of intertextuality where the words assigned to the characters on the printed page of the written text are spoken by the actors on the stage. The behaviour of a certain character on the stage is a specific realization of a potential range of meanings which that character contains in the source-text on the printed page.Since the two texts are so fundamentally different any attempt to judge the adequacy of the ‘new’ work of art, the performance text, mainly in relation to the dramatic text is doomed to run into insurmountable hermeneutic difficulties.

scholarly journals The Dialogue of Arts in Romanian Contemporary Drama

2017 ◽  
Vol 7 (1) ◽  
pp. 207-213
Author(s):  
Laura Bilic
Keyword(s):  
Visual Arts ◽  
21St Century ◽  
Modern Society ◽  
Music Technology ◽  
Dance Music ◽  
Work Of Art ◽  
The World ◽  
Continuous Work ◽  
New Generation ◽  
The Way

Abstract The beginning of the 21st century is characterized in Romania by the emerging of a new generation of playwrights. Numerous actors or people coming “off the stage” begin to write drama, so that the playwrights become authors of the texts played on the stage. Thus, the playwrights join a trend that is common in Europe, being part of a category named by Bruno Tackels “les écrivains de plateau” - the writers of the stage. Nowadays, we witness a change in the way the young artists view drama - they do not only want to change the way of writing and performing drama, but they also want to change the world they live in. The contemporary performance has gradually lost its specificity by blending itself with visual arts, dance, music, technology, becoming a project. In our modern society the artists do not look for something meant to last forever, so the work of art becomes a continuous work in progress. Therefore, a bridge is being shattered - the bridge between nowadays and posterity.

scholarly journals Dlaczego jedzenie musi być piękne?

2018 ◽  
Vol 21 (2) ◽  
pp. 69-85
Author(s):  
Dominika Zagrodzka
Keyword(s):  
21St Century ◽  
Creative Process ◽  
Roland Barthes ◽  
Open Letter ◽  
Work Of Art ◽  
Preliminary Research ◽  
The Aesthetic ◽  
The Individual ◽  
The Erotic

Dlaczego jedzenie musi być piękne?W  artykule omawiam problem estetyzacji jedzenia. Analizuję dwudziestojednowieczne manifesty napisane przez szefów kuchni, takie jak Open Letter to the Chefs of Tomorrow i  Statement on the ʻnew cookeryʼ. Szczególnie interesuje mnie język, jakiego używają, mówiąc o  jedzeniu i  gotowaniu. Często jest on podobny do języka używanego do opisu sztuki i  procesu twórczego. Przykładowo, jednym z  najpopularniejszych terminów jest termin „interpretacja”, dotyczący zarówno działań kucharzy, jak i  jedzących. Podkreśla się, że akt jedzenia powinien być całościowym doświadczeniem i  dostarczać emocji zarezerwowanych dla sztuki. Czy rzeczywiście możemy mówić o  podobieństwie jedzenia do dzieła sztuki i  gotowania do tworzenia? Odwołując się między innymi do rezultatów wstępnych badań, jakie prowadziłam, chcę pokazać, jak koncepcja estetyzacji codzienności Wolfganga Welscha koresponduje z  ideą Georga Simmla o  estetycznej sile wspólnego stołu. Okazuje się, że chodzi nie tylko o  podawanie pięknych dań. Aby osiągnąć satysfakcję estetyczną z  posiłku, szczególnie ważne jest, z  kim i  w  jakim otoczeniu jemy. Wspólnota jest czymś nadbudowanym nad jednostkową satysfakcją. Roland Barthes zaznaczał także, że reguły i  zakazy obowiązujące podczas jedzenia zostały stworzone, aby ukryć erotyczny, indywidualny aspekt jedzenia. Why food must be beautiful?In my article I discuss the problem of the anesthetization of food. I analyzed the 21st century manifestos written by the chefs, including Open Letter to the Chefs of Tomorrow and Statement on the »new cookery«. I am particularly interested in the language they use talking about food and cooking. It is often similar to the language which is used to describe the work of art and the creative process. For example, the most popular term is ‘interpretation’ concerning the activities of cooks and eaters. It is emphasized that the act of eating is supposed to be holistic experience and should provide feelings reserved for art. But how much can you actually talk about the similarity of food to the pieces of art and about the similarity of cooking to creating something? Referring to the results of the preliminary research that I conducted, I want to show how to combine Wolfgang Welsch’s concepts about everyday aesthetisation and Georg Simmel’s ideas about the aesthetic power of a community table. It turns out that it is not just about to serve beautiful plates. To be satisfied with the meal it is also important who we eat with and in what setting. The community is something appearing over the individual satisfaction. Roland Barthes admitted that the rules and prohibitions are designed also to cover the erotic aspects of feasting.

scholarly journals Collectors as consumers of works of fine art on the art market and their motivations

2021 ◽  
Author(s):  
Dmytro Akimov
Keyword(s):  
Methodological Approach ◽  
Fine Arts ◽  
Marketing Research ◽  
Art Market ◽  
Art Markets ◽  
Work Of Art ◽  
Marketing Technology ◽  
Art Collectors ◽  
Works Of Art ◽  
Art Marketing

The purpose of the article. Research and analysis of marketing technology algorithms by studying the motivations of collectors as consumers of fine arts products. The research methodology is to apply comparative, empirical, and theoretical methods. This methodological approach allows us to analyze the motivations of collectors as 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 motivation of collectors as consumers in the market of fine arts and in the study of further marketing processes in the activities of collectors of works of art. The article analyzes the algorithms of marketing technologies in the analysis of motivations of collectors as consumers of the art market. The article establishes that in the marketing of fine arts it is relevant and necessary to study the behavior of collectors as consumers of works of art through the analysis of types of collectors, through the analysis of the processes of collecting works of art, through the analysis of situations of consumption of works of art. It should be noted that in the marketing of fine arts, the technologies of studying and analyzing the motivations of consumers of art markets in the promotion of works of art are purposefully and productively used. The analysis of motivations of consumers of art markets gives the chance to classify highly effective groups of consumers and admirers of works of fine arts according to their motivations. Conclusions. The article defines and analyzes the model of consumption of fine arts by Collectors, and, accordingly, describes the situations in which certain groups of individuals (consumer segments) acquire or collect works of art. It is proved that the collector's behavior in art marketing is based on three obligatory components: Individual (Collector) - Product (Work of art) - Situation (Consumption of a work of art in the art market). 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 collectors as Individuals who consume works of art, which in turn are Products presented in kind in private (or other) collections, and we have studied the situations of consumption of works of art acquired in the collection. Keywords: art market, marketing research, motivation of consumers of works of art, collectors of works of art, behavior of consumers of art market.

scholarly journals Artistic Reality in the Space of Digital Technologies: Towards the Problem of Art Criticism

2020 ◽  
Author(s):  
Ekaterina Bukharova ◽  
Olga Urozhenko
Keyword(s):  
Computer Graphics ◽  
Virtual World ◽  
Art Criticism ◽  
Digital Technologies ◽  
Artistic Practice ◽  
Living Matter ◽  
Work Of Art ◽  
New Horizons ◽  
Principal Difference

The article is devoted to the comparison of two realities – the digital and the artistic. We demonstrate the principal difference in the mechanisms of their creation. Contemporary artistic practice and theory are undergoing changes to reflect cultural and technological transformations. Today, digital technologies are ubiquitous and widely used in documenting artworks, making them popular and widely available. Also, digital technologies that work with more subtle tools and materials become especially popular and open new horizons for art. However, the structure of digital technologies does not, and possibly never will, enable a living energy impulse of the artwork to become a part of the virtual world. The nature of digital reality is rooted not in the rhythmic but in algorithmic elements, thus putting limitations to what can be achieved through such methods. We discuss the role of a work of art as a biogeochemical factor and the role of digital technologies in deeper connection between viewers and artworks. Keywords: artistic reality, digital reality, ”living matter”, computer graphics, theory of art.

Sign in / Sign up

Export Citation Format

Share Document