scholarly journals THE USE OF TRIZ (TIPS) METHODS FOR THE PERCEPTION OF THE MODERN VISUAL ART

2021 ◽  
pp. 29-40
Author(s):  
T. I. Lagaeva ◽  
A. I. Simak
Keyword(s):  
Problem Solving ◽  
Visual Arts ◽  
Art History ◽  
Visual Information ◽  
Visual Art ◽  
Research Abstract ◽  
Practical Significance ◽  
Communication Effectiveness ◽  
Conscious Perception

The purpose of this investigation is the search and development of the methodological tools for the use of the Theory of Inventive Problem Solving (TRIZ/TIPS) for a deep and conscious perception of the modern visual arts by future artists and by professional painters in general. Methodology. The theoretical fundamentals of the research became the works of the researchers in the field of social-humanitarian sciences: culturology, art history, philosophy, semiotics. One can refer to the methodological basics the use of systemic, structural-semiotic and post-structural approaches. Results. In the process of the research, the differentiation, systematization and classification of methods of shaping in visual arts by adapting TRIZ methods was realized. The visual information for every TRIZ method was collected. As an example, we suggested a research abstract for the «Mediator» method, including a selection and the interpretation of the images, the analysis of method’s functions and their peculiarities, their specifics and resource possibilities. Scientific novelty. The scientific novelty consists in the fact that the authors have investigated the artistic works on the basis of adapted TRIZ methods, identified the variants of use of these methods and their functional meaning. Practical significance. The practical significance of the research consists in a deep analysis of semantic and esthetic components of the works of art, which can promote the enhancement of the artistic communication effectiveness and higher realization of the artists.

Art, History, and Postwar Fiction

2018 ◽  
Author(s):  
Kevin Brazil
Keyword(s):  
Visual Arts ◽  
Art History ◽  
Visual Art ◽  
New Left ◽  
Doris Lessing ◽  
William Gaddis ◽  
Continuity And Change ◽  
Historical Developments ◽  
The Cold War ◽  
The Relationship

Art, History, and Postwar Fiction explores the ways in which novelists responded to the visual arts from the aftermath of the Second World War up to the present day. If art had long served as a foil to enable novelists to reflect on their craft, this book argues that in the postwar period, novelists turned to the visual arts to develop new ways of conceptualizing the relationship between literature and history. The sense that the novel was becalmed in the end of history was pervasive in the postwar decades. In seeming to bring modernism to a climax whilst repeating its foundational gestures, visual art also raised questions about the relationship between continuity and change in the development of art. In chapters on Samuel Beckett, William Gaddis, John Berger, and W. G. Sebald, and shorter discussions of writers like Doris Lessing, Kathy Acker, and Teju Cole, this book shows that writing about art was often a means of commenting on historical developments of the period: the Cold War, the New Left, the legacy of the Holocaust. Furthermore, it argues that forms of postwar visual art, from abstraction to the readymade, offered novelists ways of thinking about the relationship between form and history that went beyond models of reflection or determination. By doing so, this book also argues that attention to interactions between literature and art can provide critics with new ways to think about the relationship between literature and history beyond reductive oppositions between formalism and historicism, autonomy and context.

scholarly journals Changes in the themes, aesthetics and functions of public images in Kyiv due to the influence of socio-cultural processes in the society of 1990-2010

2021 ◽  
pp. 183-194
Author(s):  
Mariia Ospishcheva-Pavlyshyn
Keyword(s):  
Contemporary Art ◽  
Visual Arts ◽  
Public Art ◽  
Visual Art ◽  
Rapid Development ◽  
Practical Aspect ◽  
Cultural Processes ◽  
The Impact ◽  
Theoretical Developments

On the back of the rapid development in public art in recent decades, and in particular graffiti and muralism, interest in them has grown significantly among cultural studies scholars, art critics, architects, sociologists, and urban planners. Numerous works that have appeared in the West and in Ukraine are devoted to various aspects of the visual public art existence. This theme continues to be one of the most relevant for contemporary visual art. This article complements the bunch of acquired knowledge with a detailed study of the impact of socio-cultural processes in society on the changes that took place in monumental painting, graffiti and muralism in Kyiv during 1990–2010, i.e. during the most important changes in politics and society in recent decades. The peculiarities of each historical stage of this influence are analysed and outlined in the study, and the theoretical analysis is displayed by the description of the most characteristic works. Most of them are researched in detail. In addition, the process of decline of monumental painting in the late 1980s and early 1990s is analysed, the factors of graffiti flourishing in the 1990s are identified and highlighted, and the origins of the rapid development of muralism after 2004 and especially after 2014 are explored. At each stage, changes in the themes, aesthetics and functions of public images are traced. The definitions, such as muralism and graffiti, are updated in this paper, taking into account changes in art and the latest achievements in its analysis. The manifestations of the national-patriotic themes in the contemporary art of muralism are considered in detail, the classification of art work on this subject is given, the corresponding examples are given. Such concepts as public art, synthesis of arts, monumental painting, graffiti, muralism are attentively aligned. The study of the nature of the socio-cultural processes and visual arts correlations is promising for further scientific and theoretical developments and the practical aspect for better understanding of the specific works

Network of Visual Arts and Contemporary Art Pattern Reorganization

2013 ◽  
Vol 321-324 ◽  
pp. 1102-1106
Author(s):  
Wen Jing Zhong
Keyword(s):  
Contemporary Art ◽  
Visual Arts ◽  
Visual Information ◽  
Visual Art ◽  
Visual Space ◽  
Basic Structure ◽  
Production Method ◽  
Space Environment ◽  
Real Situation ◽  
Expression Platform

This article, based on changes in the pattern of study of contemporary art network of visual arts, contemporary art in the space environment of the network visual arts, visual arts language of visual media, interactive cyberspace realm of art, information and digital communication art platform for contemporary art pattern the basic structure of the reorganization. Through integration of the modern network multi-media production technology and visual vision production method, the traditional art like Painting, Architecture art and Dace could form a new form of art performance and visual language, and enriched the modern context of art dialogue and culture space, which is the new construction of network visual art to the modern art pattern. Compared with the real world, it is virtual and transcendent, however, Network of Visual art provided a real situation of visual experience and psychological experience to a expanding real situation. By the use of network visual space and various visual information, the thinking way and expression platform of modern digital art creation have been extended and expanded.

scholarly journals On the Artistic Value of Literary Ekphrasis

2021 ◽  
Vol 2 (2) ◽  
Author(s):  
Zhangfan Shangguan ◽  
Dong Wang
Keyword(s):  
Visual Arts ◽  
Art History ◽  
Visual Art ◽  
Narrative Style ◽  
Cross Media ◽  
Artistic Value ◽  
Cross Border ◽  
Language Style ◽  
Writing Paradigm ◽  
Literary Narrative

As a language attribute that exists for visual arts, ekphrasis is not only a bridge to communicate poetry and painting, but also an important category in the cross-media and cross-disciplinary research of literature and art. Through the process of recreating paintings by using language as a medium, ekphrasis realizes the conversion from visual art to auditory art, and explores the richness of cognitive creation on the basis of the reproduction of visual art. In this process, the literary narrative diagram shows significant differences from the artistic doctrinal diagram, which are mainly reflected in the three levels of academic guiding ideology, narrative style difference, classic deconstruction and reconstruction, and language style writing paradigm. In addition, literary storytelling plays an important role in the writing of art history and the dissemination of artworks. It provides reference and inspiration for the current cross-border and in-depth integration of literature and art from the perspective of practical creation.

The words about us

1983 ◽  
Vol 8 (4) ◽  
pp. 14-22 ◽  
Author(s):  
Gavin Jantjes
Keyword(s):  
South African ◽  
Visual Arts ◽  
Art History ◽  
Visual Art ◽  
African History ◽  
African Art ◽  
Black Artists ◽  
British Art ◽  
Cultural Life ◽  
Commonwealth Institute

This article challenges the history and interpretation of the visual arts of Africa promulgated by much of the documentation on African art found in British art libraries — both that based on the colonial archaeological, ethnographic and anthropological approach, and that stemming from the influence of African arts on early twentieth century European art. Drawing parallels between the false picture of African history produced by colonial historians, and the perception of African art history by non-African art historians, the author draws attention to the need for Africans to document their own art, and to the lack of documentation on the contribution of Black artists to British cultural life.The author is a South African artist and writer living in Britain, who will be exhibiting with the Midlands Art Group, Nottingham, January – February 1984. The article is a revised version of a paper delivered at the ARLIS/UK course ‘Visual art documentation for a multi-cultural society’, held on 11 November 1983 at the Commonwealth Institute, London.

The problem of the artefact: subject limits of the art library

1979 ◽  
Vol 4 (4) ◽  
pp. 11-22 ◽  
Author(s):  
Trevor Fawcett
Keyword(s):  
Material Culture ◽  
Visual Arts ◽  
Art History ◽  
Visual Art ◽  
Round Table ◽  
History Of Technology ◽  
Social Anthropology ◽  
Value Judgment ◽  
A Value ◽  
History Of

The traditional subject category ‘visual arts’ is based on a value judgment, but aesthetic criteria no longer suffice to define this category. Art is increasingly permissive in its range. The subjects of art history, archaeology, social anthropology, and history of technology tend more and more to overlap. Almost any material artefact can now be viewed aesthetically, and any work of visual art may be considered as an artefact. Libraries should aim to bring together all the material culture of human societies, whether tools or works of art, in their bibliographic classifications instead of scattering it as at present.(Slightly revised version of a paper given at the Art Libraries Round Table, 45th IFLA Congress, Copenhagen, 1979.)

The current state of the legislative implementation of criminal law policy

2020 ◽  
pp. 111-118
Author(s):  
Oleksandr Ostrohliad
Keyword(s):  
Law Enforcement ◽  
Criminal Code ◽  
Practical Significance ◽  
New Approach ◽  
Public Discussion ◽  
Current State ◽  
Criminal Offenses ◽  
Legal Technology ◽  
Logical Semantic

Purpose. The aim of the work is to consider the novelties of the legislative work, which provide for the concept and classification of criminal offenses in accordance with the current edition of the Criminal Code of Ukraine and the draft of the new Code developed by the working group and put up for public discussion. Point out the gaps in the current legislation and the need to revise individual rules of the project in this aspect. The methodology. The methodology includes a comprehensive analysis and generalization of the available scientific and theoretical material and the formulation of appropriate conclusions and recommendations. During the research, the following methods of scientific knowledge were used: terminological, logical-semantic, system-structural, logical-normative, comparative-historical. Results In the course of the study, it was determined that despite the fact that the amendments to the Criminal Code of Ukraine came into force in July of this year, their perfection, in terms of legal technology, raises many objections. On the basis of a comparative study, it was determined that the Draft Criminal Code of Ukraine needs further revision taking into account the opinions of experts in the process of public discussion. Originality. In the course of the study, it was established that the classification of criminal offenses proposed in the new edition of the Criminal Code of Ukraine does not stand up to criticism, since other elements of the classification appear in subsequent articles, which are not covered by the existing one. The draft Code, using a qualitatively new approach to this issue, retains the elements of the previous classification and has no practical significance in law enforcement. Practical significance. The results of the study can be used in law-making activities to improve the norms of the current Criminal Code, to classify criminal offenses, as well as to further improve the draft Criminal Code of Ukraine.

Resonance in Dhvani Aesthetics and the Deleuzian Logic of Sensation

2018 ◽  
Vol 12 (1) ◽  
pp. 29-44
Author(s):  
Srajana Kaikini
Keyword(s):  
Art History ◽  
Visual Art ◽  
Normative Theory ◽  
Close Reading ◽  
Literary Interpretation ◽  
Sanskrit Poetics ◽  
Comparative Framework ◽  
Time Image

This paper undertakes an intersectional reading of visual art through theories of literary interpretation in Sanskrit poetics in close reading with Deleuze's notions of sensation. The concept of Dhvani – the Indian theory of suggestion which can be translated as resonance, as explored in the Rasa – Dhvani aesthetics offers key insights into understanding the mode in which sensation as discussed by Deleuze operates throughout his reflections on Francis Bacon's and Cézanne's works. The paper constructs a comparative framework to review modern and classical art history, mainly in the medium of painting, through an understanding of the concept of Dhvani, and charts a course of reinterpreting and examining possible points of concurrence and departure with respect to the Deleuzian logic of sensation and his notions of time-image and perception. The author thereby aims to move art interpretation's paradigm towards a non-linguistic sensory paradigm of experience. The focus of the paper is to break the moulds of normative theory-making which guide ideal conditions of ‘understanding art’ and look into alternative modes of experiencing the ‘vocabulary’ of art through trans-disciplinary intersections, in this case the disciplines being those of visual art, literature and phenomenology.

Conclusion

2018 ◽  
Author(s):  
Margaret Gilbert
Keyword(s):  
Problem Solving ◽  
Practical Significance ◽  
Joint Commitment ◽  
General Demand

Given the practical significance of demand-rights, it is important to understand how they are possible. This is the general demand-right problem. Solving it turns out to be a challenging task, one that takes us beyond the resources of the central contemporary theories of rights.This book has provided a solution to the general demand-right problem: joint commitment is a ground of demand-rights....

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