scholarly journals THE SIGNIFICANCE OF SACRED ART WORKS IN THE DEVELOPMENT OF TEACHER’S ARTISTIC THINKING

2020 ◽  
pp. 42-47
Author(s):  
I. Subbotenko
Keyword(s):  
Sacred Art ◽  
Art Works

scholarly journals National, Regional, or Just Catholic?—Dilemmas of Church Art in a German–Polish Borderland. Upper Silesia, 1903–1953

Arts ◽  
2021 ◽  
Vol 10 (1) ◽  
pp. 18
Author(s):  
Jerzy Gorzelik
Keyword(s):  
Imagined Communities ◽  
National Belonging ◽  
Sacred Art ◽  
Upper Silesia ◽  
God's Will ◽  
National Community ◽  
Sacred Spaces ◽  
Art Works ◽  
National Ideology ◽  
Church Art

The rise of nationalism threatened the integrity of the Catholic milieu in borderlands such as Prussian Upper Silesia. Facing this challenge, the ecclesiastical elite developed various strategies. This article presents interpretations of sacred art works from the first half of the 20th century, which reveal different approaches to national discourses expressed in iconographic programs. The spectrum of attitudes includes indifference, active counteraction to the progress of nationalism by promoting a different paradigm of building temporal imagined communities, acceptance of nationalistic metaphysics, which assumes the division of humanity into nations endowed with a unique personality, and a synthesis of Catholicism and nationalism, in which national loyalties are considered a Christian duty. The last position proved particularly expansive. Based on the primordialist concept of the nation and the historiosophical concept of Poland as a bulwark of Christianity, the Catholic-national ideology gained popularity among the pro-Polish clergy in the inter-war period. This was reflected in Church art works, which were to present Catholicism as the unchanging essence of the nation and the destiny of the latter resulting from God’s will. This strategy was designed to incorporate Catholic Slavophones into the national community. The adoption of a different concept of the nation by the pro-German priests associated with the Centre Party—with a stronger emphasis on the subjective criteria of national belonging—resulted in greater restraint in expressing national contents in sacred spaces.

scholarly journals On the Reasons for the Presence of Kitsch in Contemporary Religious Sp

2019 ◽  
Vol ENGLISH EDITION (1) ◽  
pp. 189-201
Author(s):  
Beata Skrzydlewska
Keyword(s):  
Catholic Church ◽  
Art History ◽  
Point Of View ◽  
Religious Art ◽  
Main Subject ◽  
Sacred Art ◽  
Sacred Spaces ◽  
Art Works ◽  
The Church ◽  
The Catholic Church

The study is the attempt to identify the sources of the kitsch phenomenon in contemporary religious art in Poland. The main subject of the study regards church interiors, particularly art works present in the sacred spaces of the Catholic church in Poland. The analysis, which does not include the notion of kitsch or other aspects of this problem, will be presented from the point of view of a person who has been scientifically and practically engaged in the protection of religious art monuments for years. Observations made during the implementation of projects for church museums, providing advice on the monument protection, as well as didactic work as a lecturer of art history in clerical seminaries prompted me to reflect on the level of Polish sacred art and its significance for the reception of the message of the Church.

The “individual” in Johann Friedrich Overbeck’s and Franz Liszt’s Seven Sacraments

2013 ◽  
Vol 54 (4) ◽  
pp. 339-356
Author(s):  
Dolores Pesce
Keyword(s):  
Nineteenth Century ◽  
Franz Liszt ◽  
Individualized Treatment ◽  
Sacred Art ◽  
The Individual ◽  
Individual Voice ◽  
Emotional Effects ◽  
The Church

In the preface to his Septem sacramenta (1878–1884), Franz Liszt acknowledged its stimulus — drawings completed in 1862 by the German painter J. F. Overbeck (1789–1869). This essay explores what Liszt likely meant by his and Overbeck’s “diametrically opposed” approaches and speculates on why the composer nonetheless acknowledged the artist’s work. Each man adopted an individualized treatment of the sacraments, neither in line with the Church’s neo-Thomistic philosophy. Whereas the Church insisted on the sanctifying effects of the sacraments’ graces, Overbeck emphasized the sacraments as a means for moral edification, and Liszt expressed their emotional effects on the receiver. Furthermore, Overbeck embedded within his work an overt polemical message in response to the contested position of the pope in the latter half of the nineteenth century. For many in Catholic circles, he went too far. Both works experienced a problematic reception. Yet, despite their works’ reception, both Overbeck and Liszt believed they had contributed to the sacred art of their time. The very individuality of Overbeck’s treatment seems to have stimulated Liszt. True to his generous nature, Liszt, whose individual voice often went unappreciated, publicly recognized an equally individual voice in the service of the Church.

Gerak Tari Baris Tunggal dalam Fotografi Ekspresi Menggunakan Teknik Strobo Light

2014 ◽  
Author(s):  
Ida Bagus Candra Yana*
Keyword(s):  
Visual Arts ◽  
Dance Movement ◽  
Multiple Images ◽  
Strobe Light ◽  
Creative Idea ◽  
The Arts ◽  
Art Works ◽  
Art Photography ◽  
Aesthetic Values ◽  
Aesthetic Expression

Dance  photography  is  a  photo  shoot  on a  dance  movement  which  has  a  characteristic as  it  shows  on  a  particular  movement  with unique costumes. The arts of dance photography specifically describes through a specific thematic effect  with  an  aesthetic  and  creative  oncoming. Based on the photographer experience to capture the  light  together  with  his  aesthetic  expression on  movement  photography,  he  finally  presented the  visual  arts  on  Baris  Tunggal  Dance  in  art photography expressions using strobe light. Basically,  the  creative  works  focused on  the  dancer  movements  and  transformed  into photography  expression  which  blended  with aesthetic  and  creative  idea  (ideational)  also  the technical photo shoot capability (technical) of the photographer. The photo shoots technique chosen through a variety of consideration which oriented on practical implementations possibilities, resulting photographs  in  freeze,  blurred,  and  multiple-images  as  art  photography.  The  art  photograph includes  extrinsic  and  intrinsic  aesthetic  values through photo presentation. With the presence of this photography art works it was not only present Gerak Tari Baris Tunggal dalam Fotografi Ekspresi Menggunakan Teknik Strobo Light in the form of mere documentation but it was the art photography expression on creative and aesthetic level. Keywords:  movements,  Baris  Tunggal  Dance, photography expression, strobo-light * Dosen ISI Denpasar

An Efficient Tool for Searching Maximal and Super Maximal Repeats in Large DNA/Protein Sequences via Induced-Enhanced Suffix Array

2019 ◽  
Vol 12 (2) ◽  
pp. 128-134
Author(s):  
Sanjeev Kumar ◽  
Suneeta Agarwal ◽  
Ranvijay
Keyword(s):  
Protein Sequences ◽  
Input Sequence ◽  
Suffix Array ◽  
Secondary Memory ◽  
Time And Space ◽  
Efficient Tool ◽  
Frequency Distributions ◽  
Alignment Algorithms ◽  
Common Prefix ◽  
Art Works

Background: DNA and Protein sequences of an organism contain a variety of repeated structures of various types. These repeated structures play an important role in Molecular biology as they are related to genetic backgrounds of inherited diseases. They also serve as a marker for DNA mapping and DNA fingerprinting. Efficient searching of maximal and super maximal repeats in DNA/Protein sequences can lead to many other applications in the area of genomics. Moreover, these repeats can also be used for identification of critical diseases by finding the similarity between frequency distributions of repeats in viruses and genomes (without using alignment algorithms). Objective: The study aims to develop an efficient tool for searching maximal and super maximal repeats in large DNA/Protein sequences. Methods: The proposed tool uses a newly introduced data structure Induced Enhanced Suffix Array (IESA). IESA is an extension of enhanced suffix array. It uses induced suffix array instead of classical suffix array. IESA consists of Induced Suffix Array (ISA) and an additional array-Longest Common Prefix (LCP) array. ISA is an array of all sorted suffixes of the input sequence while LCP array stores the lengths of the longest common prefixes between all pairs of consecutive suffixes in an induced suffix array. IESA is known to be efficient w.r.t. both time and space. It facilitates the use of secondary memory for constructing the large suffix-array. Results: An open source standalone tool named MSR-IESA for searching maximal and super maximal repeats in DNA/Protein sequences is provided at https://github.com/sanjeevalg/MSRIESA. Experimental results show that the proposed algorithm outperforms other state of the art works w.r.t. to both time and space. Conclusion: The proposed tool MSR-IESA is remarkably efficient for the analysis of DNA/Protein sequences, having maximal and super maximal repeats of any length. It can be used for identification of well-known diseases.

Digital Uncanny

2019 ◽  
Author(s):  
Kriss Ravetto-Biagioli
Keyword(s):  
Feedback Loop ◽  
Aesthetic Experience ◽  
Software Systems ◽  
Repressed Memories ◽  
Experimental Art ◽  
The Uncanny ◽  
Art Works ◽  
Data Flows ◽  
Human Gestures ◽  
New Type

We are confronted with a new type of uncanny experience, an uncanny evoked by parallel processing, aggregate data, and cloud-computing. The digital uncanny does not erase the uncanny feeling we experience as déjà vu or when confronted with robots that are too lifelike. Today’s uncanny refers to how nonhuman devices (surveillance technologies, algorithms, feedback, and data flows) anticipate human gestures, emotions, actions, and interactions, intimating we are machines and our behavior is predicable because we are machinic. It adds another dimension to those feelings we get when we question whether our responses are subjective or automated—automated as in reducing one’s subjectivity to patterns of data and using those patterns to present objects or ideas that would then elicit one’s genuinely subjective—yet effectively preset—response. This anticipation of our responses is a feedback loop we have produced by designing software that studies our traces, inputs, and moves. Digital Uncanny explores how digital technologies, particularly software systems working through massive amounts of data, are transforming the meaning of the uncanny that Freud tied to a return of repressed memories, desires, and experiences to their anticipation. Through a close reading of interactive and experimental art works of Rafael Lozano-Hemmer, Bill Viola, Simon Biggs, Sue Hawksley, and Garth Paine, this book is designed to explore how the digital uncanny unsettles and estranges concepts of “self,” “affect,” “feedback,” and “aesthetic experience,” forcing us to reflect on our relationship with computational media and our relationship to others and our experience of the world.

How Art Works

2018 ◽  
Author(s):  
Ellen Winner
Keyword(s):  
Statistical Analysis ◽  
Data Collection ◽  
Social Science ◽  
Modern Art ◽  
Hard Work ◽  
Objective Truth ◽  
The Arts ◽  
Art Form ◽  
Art Works ◽  
Truth Value

This book is an examination of what psychologists have discovered about how art works—what it does to us, how we experience art, how we react to it emotionally, how we judge it, and what we learn from it. The questions investigate include the following: What makes us call something art? Do we experience “real” emotions from the arts? Do aesthetic judgments have any objective truth value? Does learning to play music raise a child’s IQ? Is modern art something my kid could do? Is achieving greatness in an art form just a matter of hard work? Philosophers have grappled with these questions for centuries, and laypeople have often puzzled about them too and offered their own views. But now psychologists have begun to explore these questions empirically, and have made many fascinating discoveries using the methods of social science (interviews, experimentation, data collection, statistical analysis).

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