An Experience in Constructing a Qualimetric Assessment of the Significance of Urban Art Objects

2021 ◽  
Vol 18 (2) ◽  
pp. 116-126
Author(s):  
Marina E. Vilchinskaya-Butenko ◽  
Nikolai N. Rozhkov
Keyword(s):  
Pilot Study ◽  
Scientific Basis ◽  
Relative Significance ◽  
Urban Art ◽  
Art Object ◽  
Art Objects ◽  
Emotional Dimension ◽  
Artistic Interpretation ◽  
Methodological Principles ◽  
Necessary And Sufficient

The article attempts to ensure the unity of views on the implementation of urban art projects in local contexts. The paper aims to discuss the results of a pilot study obtained through a comprehensive assessment of the significance of urban art objects using qualimetric scales. The authors selected seven art objects that meet the four requirements: a) the art objects exist in the urban environment at the time of their assessment by experts; b) the art objects have a high communicative potential, that is, they are interesting to the viewer; c) there are discussions in the media and social networks about the prospects for preserving the art objects; d) the sample is heterogeneous. The experimental group included ten experts, both art theorists and practitioners. The experts were asked to evaluate the significance of each of the art objects by ranking them according to eight “rational” and two “emotional” criteria. The existence of consistency of the experts’ opinions was checked using the concordance coefficient. The pilot study showed that the most significant among the rational criteria for evaluating an artwork were technography (the degree of qualitative impact of the art object on the environment, the degree of the work’s conditionality with the context) and iconography (the uniqueness/brightness of the author’s message). The significance of the other principles (of technology and iconology) is considerably lower, which means that they can be ignored when constructing the final assessment by linear convolution. There was also a fairly high relative significance of the two emotional criteria that had been proposed for the experts’ consideration (the emotional dimension of the work in the artist’s experience and the emotional dimension of the work in the viewer’s experience). The scientific novelty of the research is determined by the fact that a systematic approach to assessing the rational aspects of the artistic interpretation of an urban art object makes it necessary and sufficient to rely on the two methodological principles for evaluating an artwork — technography and iconography. When evaluating the emotional aspects of artistic interpretation, it is necessary and sufficient to rely on the emotional dimension of the work in the experience of the artist and the viewer. The results obtained suggest finding an objective scientific basis for regulating the visual culture of public spaces.

scholarly journals An Approach to the Problem of Urban Art Objects Comprehensive Assessment Using Qualimetry Methods

2020 ◽  
Vol 17 (1) ◽  
pp. 74-87
Author(s):  
Marina E. Vilchinskaya-Butenko ◽  
Nikolay N. Rozhkov
Keyword(s):  
Scientific Basis ◽  
Comprehensive Assessment ◽  
Urban Art ◽  
Art Object ◽  
Art Objects ◽  
Art Works ◽  
Artistic Interpretation ◽  
Emotional Aspects ◽  
The Government ◽  
Methodological Principles

Over the past few years, the issue of developing common criteria for assessing the significance of urban art works has been constantly discussed in the context of the dialogue between the government and society. Meanwhile, the decisions made by local authorities (for example, deputies of the Moscow City Duma and the Legislative Assembly of St. Petersburg) are always of a private nature and do not rest upon a single science-based approach to legalizing the placement of urban art works in the urban environment. This study is aimed at justifying the use of qualimetric methods in a comprehensive assessment of the significance of urban art works. The study’s methodology is presented by comparative and qualimetric methods for evaluating the aesthetic parameters of urban art works. The article notes the complexity of the assessment due to the pronounced specificity that makes it difficult to interpret urban art unambiguously. Basing on the methodological principles of artworks examination (technography, technology, iconography and iconology), the authors propose a number of criteria for evaluating rational and emotional aspects of the significance of urban art objects. To evaluate an art object for each of the criteria, the article offers its own qualimetric scale. It can be described using a set of “points”, for example, from 1 to 10, where the lowest (1) and the highest (10) levels are described in strict and understandable terms, and the middle points (from 2 to 9) are determined by an expert basing on the extent of difference between the level detected by the expert and the two specified extreme levels for this particular art object. With their help, the derived figures can be translated into evaluation categories, thus obtaining particular assessments that are separate for each criterion, and the final value can be derived from a generalization of the particular assessments. The scientific novelty of the study is determined by the fact that the qualimetric method can provide a systematic approach to assessing the rational and emotional aspects of artistic interpretation of urban art objects. The method’s practical application can provide a compromise for the opposing parties struggling to claim the “rights to the city”, and regulate the visual culture of public spaces on an objective scientific basis.

Love and the Art Object

2015 ◽  
Author(s):  
Joanne Winning
Keyword(s):  
Object Relations ◽  
Virginia Woolf ◽  
Literary Texts ◽  
Emotional Intimacy ◽  
Artistic Production ◽  
Art Object ◽  
Art Objects ◽  
Sexual Desires

Chapter 6 examines how lesbian modernists oppose ideas of artistic impersonality through imbricating intimate affects in the production of their art objects. Objects considered here include literary texts, paintings, houses and interiors. The chapter engages both Michael Hardt’s notion of “corporeal reason” and the object relations psychoanalysis of D.W. Winnicott and Marion Milner to argue that Virginia Woolf, Gluck, and Eileen Gray demonstrate an intense concern with the materiality of artistic production. This preoccupation with “stuff” conveys a visceral, affective appreciation of their art, which serves as a realm in which transgressive sexual desires and identities may be safely articulated. From Gray’s lacquered surfaces to Gluck’s plasticine frames, these modernist art objects are saturated with affect, serving as tangible, material expressions of bodily and emotional intimacy.

The Impossible Art Object of Desire

2019 ◽  
pp. 75-111
Author(s):  
Dana Seitler
Keyword(s):  
Art Object ◽  
Art Objects

This chapter is about how art objects in Henry James’s fiction function as a theory of desire.

A Few Examples of Electron Microanalysis of Art Objects at the Boston Museum of Fine Arts

2001 ◽  
Vol 7 (2) ◽  
pp. 193-199
Author(s):  
Robert E. Ogilvie
Keyword(s):  
Electron Microprobe ◽  
Fine Arts ◽  
Metal Artifacts ◽  
Art Object ◽  
Art Objects ◽  
Marble Sculptures ◽  
Museum Of Fine Arts ◽  
Electron Microanalysis

Abstract Examples of a few objects are presented, where the electron microprobe has proved that it can provide the conservator and the curator with information that will help in evaluating the authenticity of a particular art object. They will also obtain a better understanding of how an object was fabricated and what materials it was made from. The results of the analysis of paint samples, samples from metal artifacts, as well as specimens from marble sculptures, are described.

scholarly journals CONCEPTUAL AND METHODOLOGICAL PRINCIPLES OF PERIODIZATION OF THE HISTORICAL AND PEDAGOGICAL PHENOMENON

2020 ◽  
pp. 50-57
Author(s):  
Semenovska
Keyword(s):  
Scientific Basis ◽  
Study Data ◽  
General Scientific ◽  
Scientific Task ◽  
Methodological Principles ◽  
Definition Of ◽  
Pedagogical Research ◽  
Object Of Study ◽  
High Level ◽  
Further Development

Based on the analysis of the achievements of the classical and modern philosophical, psychological and pedagogical knowledge, theoretical and methodological foundations for substantiating the periodization of the historical and pedagogical phenomenon are determined. In this regard, the general scientific, pedagogical and historical-pedagogical approaches have been characterized, their importance has been proved to ensure the narrative nature of the study, the unity and continuity of the historical-pedagogical process.It is proved that the periodization of historical and pedagogical phenomena is one of the most complex, complex and multilevel problems of scientific knowledge. Periodization requires a thorough study of the object of study, data related to the pedagogy of science, a developed scientific and methodological worldview of the researcher. Analysis of the state of periodization of historical and pedagogical phenomena will identify the most typical shortcomings in the implementation of this scientific task, so to create conditions for further development of methodological foundations of historical and pedagogical science.The article states that classical and modern philosophical teachings are reflected in general and specific scientific methodologies of historical and pedagogical research, the main provisions of which are interdependent and interact with each other. This approach ensures the objectivity and narrative of scientific research, which is aimed at justifying the periodization of the historical and pedagogical phenomenon. Analysis of the methodological foundations of the problem allows us to conclude that their specificity is a combination of the doctrine of cognitive and practical methods. Therefore, the definition of theoretical and methodological principles of studying periodization is not only a means of achieving a high level of generalization, but also a tool for the practical transformation of pedagogical reality on a scientific basis. Key words: period ization, historical and pedagogical phenomenon, development, scientific approaches, philosophical doctrine.

scholarly journals The Image Of War People In The Stories Of Utkir Hoshimov

2021 ◽  
Vol 03 (03) ◽  
pp. 255-260
Author(s):  
Oybek Umarjon ugli Kholmatov ◽  
Keyword(s):  
Literary Text ◽  
Scientific Basis ◽  
The People ◽  
Artistic Interpretation

This article discusses the problem of depicting the image of war people in the stories of U. Hoshimov. The issue is in the author’s “The Last Victim of War” and “Why, why-a-a?!” learned from stories. The basic tasks of the article are through these stories to analyze the artistic interpretation of the people of war on a scientific basis, to classify the features of the images of people of war. In the course of the analysis, examples were given from the literary text of the works and the ideas were substantiated. At the end of the article, the results obtained as a result of the analysis is summarized.

scholarly journals CREATING METHODOLOGY OF AN ART OBJECT USING SOFTWARE PACKAGES

2021 ◽  
Vol 3 (2) ◽  
pp. 14-21
Author(s):  
E. Shopina ◽  
M. Markova
Keyword(s):  
Computer Graphics ◽  
Virtual Environment ◽  
3D Modeling ◽  
Computer Programs ◽  
Vector Graphics ◽  
Software Products ◽  
Art Object ◽  
Software Packages ◽  
Art Objects ◽  
Wide Range

Vector graphics and 3D modeling have opened up a wide range of perspectives for designers to create various art objects. The use of computer graphics greatly simplified the process of sketch creating, as it provided the ability to change, add colors, and edit entire groups of objects. 3D modeling made it possible to recreate products, taking into account the smallest details in a virtual environment, compose an interior, and perform animation of various processes. The research object is the computer programs Corel Draw and 3D max and their importance for the methodology of development and creation of art objects. As a result of the study, it was found that vector graphics and 3D modeling programs not only made it easier for designers to create art objects, but also made it possible to improve the level of design by changing the usual perception. According to the authors, software products influenced the development of design, which made it possible to create any objects in a virtual environment.

scholarly journals РЕФОРМА ОПОДАТКУВАННЯ В РЕСПУБЛІЦІ УЗБЕКИСТАН: НОВІ РИЗИКИ І НОВІ МОЖЛИВОСТІ

2020 ◽  
pp. 60-70
Author(s):  
А. Ф. Расулев ◽  
С. А. Воронин
Keyword(s):  
Economic Development ◽  
Tax Reform ◽  
System Analysis ◽  
Integrated Approach ◽  
Scientific Basis ◽  
Economic Research ◽  
Tax Reforms ◽  
Socio Economic Development ◽  
The Republic ◽  
Methodological Principles

Using an integrated approach to tax reform creates opportunities for achieving the goals and objectives of the country's socio-economic development. The purpose of the study is to evaluate the effectiveness of tax reform, to consider the conformity of the measures taken with the theoretical and methodological foundations, and on this basis to develop recommendations for improving existing tax instruments. The subject of the study is the development of the tax sphere of Uzbekistan in the context of economic liberalization and the strengthening of market mechanisms. Methods of economic research: analysis and systematization of tax factors, system analysis, scientific abstraction, historical and logical method, classification and groupings, etc. The hypothesis of the study is that ongoing tax reforms should take into account the scientific and methodological principles of taxation and prevailing features national economy. Statement of the main material. The main scientific and methodological foundations of taxation and the features of the functioning of the tax sphere in the Republic of Uzbekistan are identified. The originality and practical value of the study lies in the fact that it provides an assessment of tax reforms implemented in Uzbekistan, an examination of their compliance with the scientific and methodological foundations of taxation. The findings of the study are that the reforms in Uzbekistan did not always take into account the scientific basis of taxation and were aimed primarily at liberalizing the country's socio-economic development. Directions for further development of the tax sphere are proposed, in particular, measures to improve the classification of taxes and mandatory payments in order to create favorable conditions for optimizing the tax burden and strengthening their stimulating function, measures to reduce shadow activity in the economy by optimizing taxation

ekphrasis in Latin literature

2020 ◽  
Author(s):  
Basil Dufallo
Keyword(s):  
Latin Literature ◽  
Mise En Abyme ◽  
Greco Roman ◽  
Art Object ◽  
Art Objects ◽  
Roman Oratory ◽  
Roman Culture ◽  
Roman Poetry ◽  
High Degree

The imperial-age Greek Progymnasmata in which the term ekphrasis first appears show that the rhetoricians of the Greco-Roman world identified “descriptive speech” as an important component of rhetorical narrative and other elements of an oration insofar as it created “vividness” (ἐνάργεια) and “clarity” (ͅσαφήνεια) so as to bring persons, places, events, objects, etc. “before the eyes” (ὑπ’ ὅψιν) of listeners. The Roman rhetoricians draw upon Greek concepts and terminology to express the value in oratory of vividness (evidentia, illustratio, repraesentatio) imparted through description (descriptio, sub oculos subiectio, etc.). Many examples of such techniques can be found in Roman oratory as well as the Roman historians, who, like most Roman authors, share with the orators a strong familiarity with rhetoric. But if, in general, neither oratory nor historiography exhibits a high degree of self-consciousness about differences between ekphraseis/descriptiones in Greek and Latin, one type of ekphrasis—that of art objects in Roman poetry and the Roman novel—does. This constitutes one reason why it merits separate attention, in spite of the fact that the Progymnasmata suggest that in Antiquity it was viewed as a subcategory of the larger phenomenon. Many of the ways the Latin authors use ekphrasis of art (real or imagined) are, again, drawn directly from Greek practice. For example, these ekphrases often represent in metaliterary fashion the larger text in which they appear (a technique known in modern discussions as mise en abyme) or, in a related gesture, allude through analepsis and prolepsis (flashback and “flash-forward”) to other parts of the main text. They often interrupt the course of the larger text’s narrative by encouraging its audience to concentrate on a visual narrative within the art object and yet demand to be integrated into the larger narrative, however problematically or imperfectly, by an interpreting audience. Whether implicitly or explicitly, moreover, they often affirm verbal art’s capability to express things that a silent art object cannot and thus seem to assert the primacy of the text over the image. All of these are inherited Greek techniques; but the Latin authors extend the self-referential quality of ekphrasis’ conventional functions to encompass focused scrutiny of the relationship between Greek and Roman culture. We can sometimes discern, moreover, ways in which allusions to Greek elements of actual painting, sculpture, architecture, etc. enhance this dimension of Roman ekphrasis. Latin authors’ uses of these interrelated techniques develop and change over time.

A qualitative inquiry into the experience of sacred art among Eastern and Western Christians in Canada

2020 ◽  
Vol 42 (3) ◽  
pp. 317-334
Author(s):  
Jacob Lang ◽  
Despina Stamatopoulou ◽  
Gerald C Cupchik
Keyword(s):  
Depth Psychology ◽  
Roman Catholic ◽  
Qualitative Inquiry ◽  
Eastern Orthodox ◽  
Spiritual Experiences ◽  
Sacred Art ◽  
Art Objects ◽  
Emotional Dimension ◽  
Coptic Orthodox ◽  
Word Frequencies

This article begins with a review of studies in perception and depth psychology concerning the experience of exposure to sacred artworks in Roman Catholic and Eastern Orthodox contexts. This follows with the results of a qualitative inquiry involving 45 Roman Catholic, Eastern and Coptic Orthodox, and Protestant Christians in Canada. First, participants composed narratives detailing memories of spiritual experiences involving iconography. Then, in the context of a darkened room evocative of a sacred space, they viewed artworks depicting Biblical themes and interpreted their meanings. Stimuli included “Western” paintings from the Roman tradition—a selection from the Gothic, Northern Renaissance, and Renaissance canon—and matched “Eastern” icons in the Byzantine style. Spiritual experience narratives were analyzed in terms of word frequencies, and interpretations of sacred artworks were analyzed thematically. Catholics tended to utilize emotional language when recalling their spiritual experiences, while religious activity was most often the concern of Protestants, and Orthodox Christians wrote most about spiritual figures and their signifiers. A taxonomy of response styles was developed to account for participants’ interpretations of Western and Eastern artworks, with content ranging from detached descriptions to projective engagement with the art-objects. Our approach allows for representation of diverse Christians’ interpretations of sacred art, taking into consideration personal, collective, and cultural-religious sources of meaning. Our paradigm also offers to enrich our understanding of the numinous or emotional dimension of mystical contact.

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