scholarly journals CONCEPTUAL DESIGN. STAGES OF FORMATION

2021 ◽  
pp. 220-230
Author(s):  
Tetiana Rusevych ◽  
Olha Severina
Keyword(s):  
Twentieth Century ◽  
Urban Environment ◽  
Conceptual Design ◽  
Building Materials ◽  
Main Idea ◽  
Building Codes ◽  
Avant Garde ◽  
Main Form ◽  
The World ◽  
Design Ideas

Conceptual design is the most creative part of architectural activity. In the professional work of architects, conceptual design is given great importance. Various architectural and design forums, exhibitions, competitions are dedicated to him. In Soviet times, an interesting example of the formation of conceptual solutions is the work of Alexander Brodsky and Ilya Utkin (who signed their works as a tandem of "Brutus"). We have other solutions of interesting concepts - the object of the competition "The World of El Lysytsky" - the Globe Theater in Novosibirsk. Here the authors start from the main idea - that the cube is the main form that characterizes the spirit and style of the Russian avant-garde of the twentieth century. Conceptual design ideas are implemented in the construction of unusual hotels, atypical urban environment, non-traditional building materials. All this allows you to think about life according to other rules. Than those prescribed in building codes. The world around us is more interesting and diverse, so we can, in part, paint it in bright colors.

scholarly journals Jazz Avant-Garde by Cecil Taylor

2020 ◽  
Vol 19 (19) ◽  
pp. 466-481
Author(s):  
Pavlo Holotenko
Keyword(s):  
Main Idea ◽  
Spiritual Values ◽  
Free Jazz ◽  
Modern Culture ◽  
Avant Garde ◽  
Jazz Music ◽  
The World ◽  
History Of ◽  
Research Findings ◽  
The Difference

The relevance of the subject. Jazz music is a vivid, unique and distinctive phenomenon of the world culture, which is a grand achievement of many-years musical practice of humanity. In the context of the artistic culture of the modern information society, jazz art plays an essential part and is really quite interesting. The creative activity of jazz performers has always attracted the attention of the audience, caused a diverse reaction and today has many supporters in different parts of the world. Since the middle of the XX century, more and more trends have begun to emerge in jazz music, which led to the understanding of philosophical and psychological issues, in particular, ethical, aesthetic, social and other aspects. In this connection, new styles began to form in jazz, which in fact represented the emergence of the next, radically new stage in the evolution of jazz art. In the second half of the XX century there appeared jazz avant-garde – an entirely new cultural phenomenon that has its own history and philosophy, genre and style. In musicology, this concept can also be called “abstract jazz”, “new jazz”, “free jazz”, etc. It is clear that this trend is at the crossroads of two separate types of art – musical avant-garde and jazz, so it attracts admirers from both sides. Compared to traditional classic jazzmen, many prominent musicians of jazz avant-garde are still little known. Among them are composer and pianist Cecil Taylor, who was a compelling opponent of jazz traditions. His style is unique, his music is one of the most striking examples of musical avant-garde in the history of art. Nowadays, the scientific literature has no fundamental works devoted entirely to the analysis of C. Taylor’s avant-garde art. This circumstance also enhances the relevance of studying specific features of C. Taylor’s performing style. The purpose of the research is to determine peculiarities of Cecil Taylor’s creative style and related techniques of music speech. Achieving the goal involves solving the following tasks: to determine the difference between artistic systems of classic and avant-garde jazz; to outline the main informative paradigms of C. Taylor’s creative work; to analyze the technology of expressive means of C. Taylor’s music; to reveal the significance of C. Taylor’s avant-garde activity and to identify its place in the world of modern artistic culture. Research methods. The research is based on the interaction of scientific approaches, the most important of which are: analytical, which involves elaboration of musical means of expressiveness and composition technique of sounds organization; comparative, used to compare specific features of artistic systems of jazz mainstream and avant-garde; semantic, necessary for defining the content of music pieces, their meanings, images, mood; biographical, with the help of which certain facts of the musician’s biography are specified for a better understanding of his creative personality. Results of the study confirm the fact that in the world of artistic culture Cecil Taylor is one of the greatest representatives of the radical musical avant-garde. The basis of his art is the so-called “aesthetics of opposition”, the central idea of the artistic system of jazz avant-garde, according to which any artistic truth categorically established for all others cannot exist. In this context, the individualization of style, the relativity of all aesthetic ideals and the unlimited spectrum of expressive possibilities are stated, which is conditioned by the optimal disclosure of the figurative and emotional content of the piece. At the same time, the central object of the avant-garde jazz denial is the concept of the classic jazz art, based on the so-called “aesthetics of identity”. Its main idea is to adhere to structural stamps in order to maximally approach the stylistic aesthetic ideal. Such an ideal is the given classical theme-standard. Actually, this is an artistic truth for the jazz mainstream, to which one should aspire. Avant-gardists did not agree with this situation, for them it was nothing more than imposing personal whims by adherents of jazz traditions. The main informative paradigms of C. Taylor’s avant-garde art are antiromanticism, realistic pessimism and dystopia. The essence of anti-romanticism is to deny the domination of sentimentality, subjectivity, dreaminess and escape from reality, typical for romanticism. In their place, the primacy of rationalism, collectivity and pursuit of objectivism are established. Realistic pessimism is a worldview where, basing on tragic experience attention is focused on negative aspects, which leads to a belief in the eternal dominance of evil all over the world. Anti-utopia is recognition of the deception of utopia, the denial of the achievement of social ideals and the possibility of creating the world of justice. The main means of expressiveness of this ideological content in C. Taylor’s works are atonality, disharmony and percussive pianism. Conclusions. According to the research findings, we conclude that Cecil Taylor made a significant contribution to the development of modern culture. He was a compelling opponent of jazz traditions, always remained an uncompromising fighter for new jazz. Cecil Taylor is a virtuoso pianist and prominent improviser, one of the best representatives of avant-garde jazz in the world. Cecil Taylor discovered a new bright side of musical art and stimulated the public to redefine spiritual values and view of world as a whole. His work attracts and will attract attention of all those who are interested in contemporary art.

scholarly journals Johannes Semper hobusega. Avangard, takerduja tehnika ja looduse vahel / Johannes Semper with a horse: Avant-garde between technology and nature

2019 ◽  
Vol 18 (23) ◽  
Author(s):  
Tiit Hennoste
Keyword(s):  
Twentieth Century ◽  
Interpersonal Relationships ◽  
Fast Food ◽  
New World ◽  
New Technology ◽  
Modern Technology ◽  
Italian Futurism ◽  
Avant Garde ◽  
The World ◽  
Russian Futurism

Artikkel annab ülevaate 20. sajandi alguse kirjandusliku avangardi suhetest tehnikaga. Avangardi (eriti futurismi) jaoks pidi tehnika saama loomise eeskujuks ja masinate seadused esteetilise loovuse seadusteks. Artikkel väidab, et paljud avangardi tekstiuuenduslikud ideaalid on vastuolus tehnika ideaalidega ja iseloomustavad ennekõike loodust. Tehnika väärtustas tulemust, avangard protsessi. Tehnika väärtustas süsteemsust, ennustatavust, koopialisust, avangard vabarütme, ennustamatust ja originaalsust. Tehnika nõudis ratsionaalsust ja eesmärgipärast tegutsemist, avangard kuulutas intuitsiooni ja prohvetlikku kujutlust. Tehnika tõi odavad masstooted, avangard hindas haruldust. Tehnika väärtustas funktsionaalsust, avangard ebafunktsionaalsust. Tehnika väärtustas puhtust ja hügieeni, avangard järgis inetuse esteetikat. Tehnika nõudis tootmises vigade ja häirete vältimist, avangard tõstis vea loovaks ideeks.   The article examines the relationship between the early twentieth century international and Estonian literary avant-garde and new technology, which radically changed life and interpersonal relationships in Europe and America (trains, airplanes, metro, telephone, telegraph, skyscrapers, fast food, etc.). At first, I highlight general features connecting the new technology and its products, which emerged in distinct opposition to nature. The central activity in the world of technology appeared to be efficient, planned, and purposeful production, in which the main agents were engineer, designer, and worker. The new technology emphasized the value of the product, which rapidly became standardized and cheaply made mass-produced perfect copies of each other. The beauty of the new era was to be a technological, functionalist beauty. Production as a process had to operate without failures and the ideal product had to be without any defects. Therefore, the technological process had to be clean, even hygienic. The new technology established its own rhythm in modern cities, characterized by repeatability and predictability. At the same time, the technology covered cities by the voices that made up the noise of technology. It could be said, even, that the new technology exceeded the limits of time and space. The result was a world of simultaneity. At the same time, relationships and links between people became increasingly loose and the world and man’s worldview was characterized by increasing fragmentation. The early European avant-garde at the beginning of the twentieth century greeted the new world of technology and speed with great enthusiasm (Italian futurism, constructivism, etc.). Perhaps only early expressionism and Russian futurism had even more ambivalent attitude to the technology. The First World War significantly decreased the pre-war fascination with technology. The war destroyed the faith in the machines; the machine now became a destroyer, and the new mechanical man (a fusion of man and machine) came into view as a killer with killed soul. At the same time, modern technology became more and more common in the everyday life, and, hence, the attitude towards technology changed. The technology became a harrowing phenomenon. For early European avant-garde, the new technology was supposed to become a model for the creation and laws of machines laws of aesthetic creativity (Marinetti). We can find several features in the texts of avant-garde (especially in poetry), which are in accordance with the new world of speed and technology. Simultaneous and fragmented text represented simultaneity and fragmentarity of the world. The speed was intermediated by the telegram style, parataxis, glossolalia, onomatopoeia, mathematical symbols, etc. The artist’s ideal was engineer and machine had to become a model for making the text. I present examples of such new texts in Estonian avant-garde poetry and prose. However, much of the avant-garde ideas and ideals for textual innovation contradicted the ideals of technology. Whilst technology predominantly esteemed the result, the avant-garde valued the process of making the text. In addition, the world of technology expected systematics, predictability, repetitive rhythms, and copies while avant-garde proclaimed free rhythms, free verse, unpredictability, and originality. Technology insisted on rational and purposeful acting; avant-garde proclaimed intuition and prophetic imagination. Technology brought cheap mass products; avant-garde appreciated the rarity and expensiveness. Technology promoted utilitarianism and functionality; avant-garde non-functionality. Technology put stress on the cleanliness and hygiene of the products; avant-garde often followed the aesthetics of ugliness. Technology required efficiency and economy of production, avoiding mistakes and disturbances; avant-garde regarded error as a creative idea. I argue that many of these avant-garde ideas are very similar to nature. For example, chaos, illogicality, glossolalia, words-in-freedom, and zaum truly characterize nature. Originality, variability, unpredictable rhythms, non-systematicity are also the qualities of nature. Lack of purpose, irrationality, and lack of thought are features of nature. An error or a shift as the basis of creation and inefficiency characterizes nature, too. The aesthetics of ugliness parallels the ugliness of nature. Thus, the observance of the avant-garde ideals results in a text that, on the one hand, craves the world of technology and machines, but on the other hand goes back to the ideas and ideals of nature and seeks solutions largely in the same way as nature.

scholarly journals The Main Directions of the Humanization of Industrial Objects in Urban Environment

2020 ◽  
Vol 14 (1) ◽  
pp. 60-65
Author(s):  
Maksym Votinov ◽  
Olga Smirnova ◽  
Maria Liubchenko
Keyword(s):  
Twentieth Century ◽  
Urban Environment ◽  
World Economy ◽  
Developed Countries ◽  
Compositional Techniques ◽  
Industrial Facility ◽  
Industrial Facilities ◽  
Foreign Experience ◽  
The World ◽  
The City

The tendency to transform the old industrial areas began in 1950-1960 last century in Europe and America. By the end of the twentieth century with the development of the world economy, the time has come when the transformation of industrial infrastructure is becoming a comprehensive phenomenon. Currently, in the economies of developed countries, forms of transformation such as global mergers, takeovers, re-equipment and re-functioning are being intensively implemented. Based on the analysis of positive foreign experience, the main directions of humanization of the urban environment are considered through the transformation of industrial facilities. The transformation of industrial facilities and their territories with a change in functionality becomes the main direction of humanization of the urban environment in the XXI century. Numerous architectural and compositional techniques are allowed to adapt any industrial facility in the dynamic infrastructure of the city.

scholarly journals Image of a city and British artists of the 1910s

2020 ◽  
pp. 39-50
Author(s):  
Елена Владимировна Игумнова
Keyword(s):  
Twentieth Century ◽  
Great Britain ◽  
Urban Environment ◽  
Urban Landscape ◽  
Industrial Areas ◽  
Large Cities ◽  
British Art ◽  
The World ◽  
Artistic Life ◽  
The City

К началу ХХ века Лондон был одним из самых развитых промышленных городов в мире, но в британском искусстве того времени жанр городского пейзажа и индустриальные мотивы не находили особого отклика. К 1910-м годам ситуация изменилась, художники разных поколений стали изображать улицы крупных городов, находить сюжеты в работе фабрик и облике индустриальных районов, развивать жанр портрета в городской среде. Этот момент возникновения и развития интереса к городским сюжетам, эволюция образа города в работах лондонских художников 1910-х годов показаны в статье через срез художественной жизни Великобритании (от жанровых сцен У. Сикерта до геометрических абстракций У. Льюиса). By the beginning of the twentieth century, London was the most industrially developed city in the world. But the genre of urban landscape and industrial motifs did not find a special response in the British art of that time. By the 1910s, the situation had changed, artists of different generations began to depict the streets of large cities, find stories in the work of factories and the appearance of industrial areas, and develop the genre of portraiture in an urban environment. This moment of the emergence and development of interest in urban subjects, as well as the evolution of the image of the city in the works of London artists of the 1910s, are shown in the article through the review of the artistic life of Great Britain (from genre scenes by W. Sickert to geometric abstractions by W. Lewis).

scholarly journals Образы языка в англо-американском авангарде. 1910-е годы

2020 ◽  
pp. 62-71
Author(s):  
В.В. Фещенко
Keyword(s):  
New York ◽  
Twentieth Century ◽  
American Literature ◽  
Dynamic Contact ◽  
Xxth Century ◽  
Avant Garde ◽  
States Of Consciousness ◽  
The World ◽  
New States ◽  
Anglo American

В статье приводится описание авангардных практик в англоязычной литературе ХХ века, которые в наибольшей мере актуализируют языковую проблематику. Утверждается, что рассмотрение контекстов зарождения авангардных движений в англоязычной литературе ХХ века позволило выявить наиболее динамичные контактные зоны, в которых соприкасались авторы, действующие в трансатлантическом треугольнике (Лондон — Нью-Йорк — Париж). На основе этих контекстов и контактов в разделе прослежены различные концепции языка и представления о языке («образы языка»), возникающие в англо-американском литературно-манифестарном авангардном письме на протяжении семи десятилетий (1910–1970-е годы). 1910-е годы — время расцвета авангардной культуры по всему миру. На трансатлантических рубежах зарождаются такие представления, как говорение на «двух языках» — непременное условие самоопровергающего авангардного высказывания с «динамизмом слова, образа, мысли и действия» (в вортицизме); превращение языка как такового в главенствующий инструмент художественности, «приведение языка в движение» для вызывания новых состояний сознания (в литературном постимпрессионизме, симультанизме); идея новых «алфавитов» искусства и каталогизации слов и объектов (в дадаизме). The article addresses avant-garde practices in XXth century English and American literature, which mostly deal with language issues. Consideration of the contexts of origin of avant-garde movements in Anglo-American literature of the twentieth century revealed the most dynamic contact areas in which the authors were operating in the transatlantic triangle (London — New York — Paris). On the basis of these contexts and contacts, we traced various concepts of language and ideas about language, emerging in the Anglo-American literary and manifesto avant-garde writing over seven decades (1910s ––1970s). On the transatlantic frontiers, the 1910s — the heyday of avant-garde culture around the world — see the birth of concepts such as speaking in “two tongues” as an indispensable condition for a self-rejecting avant-garde utterance, with “the dynamism of the word, image, thought and action” (in Vorticism); the transformation of language as such into a dominant instrument of artistry, “setting language in motion” for evoking new states of consciousness (in literary Post-Impressionism, Simultaneism); the idea of new “alphabets” of art and the cataloging of words and objects (in Dadaism).

The Art in Gastronomy: A Modernist Perspective

2011 ◽  
Vol 11 (1) ◽  
pp. 13-23 ◽  
Author(s):  
nathan myhrvold
Keyword(s):  
Twentieth Century ◽  
Chronic Condition ◽  
Creative Expression ◽  
Art And Design ◽  
Avant Garde ◽  
The World

In the twentieth century, Modernism swept through virtually every form of art and design—except cuisine. In painting, dance, architecture, literature, and nearly every other form of intellectual creative expression, the continual rejection of the old in favor of new, avant-garde styles became, as Renato Poggioli observed, “the typical chronic condition.” But it was not until the 1970s that Nouvelle Cuisine began to transform classical French cooking, and Nouvelle was a rather limited revolution, narrow in its focus on techniques and ingredients, and limited as well in its impact on Spanish and Italian cuisine. A true Modernist revolution in food has begun only recently, as chefs such as Ferran Adrià began consciously developing gastronomic experiences that transform meals into dialogues between chef and diner. Avant-garde cooking emphasizes novel, unconventional presentation of familiar flavor themes—the “deconstruction” of the meal by evoking diners’ memories of past meals while taking the dishes in novel directions. A meal at elBulli or other Modernist restaurants often exposes conventions that guests do not even realize exist until the innovative food violates them. Like other good art, Modernist cuisine is challenging and provocative. Dozens of chefs around the world are now advancing this culinary movement as it follows a trajectory that is similar, in many ways, to the Modernist transformations of other cultural disciplines. Like those predecessor movements, Modernist cuisine has faced some resistance and criticism. But it has arrived.

scholarly journals Piękne okrucieństwo. Przemoc w imaginarium faszystowskim

2015 ◽  
Vol 17 ◽  
pp. 15-45
Author(s):  
Nina Gładziuk
Keyword(s):  
Twentieth Century ◽  
Intellectual History ◽  
Avant Garde ◽  
Sturm Und Drang ◽  
The World ◽  
The Aesthetic

This paper discusses the roots of fascist (and Nazi in particular) ideas, which were anchored in the aesthetic heritage of Romanticism, later developed by the Nietzschean vitalism and the modernist avant-garde. From the perspective of twentieth-century intellectual history, special attention should be given to the theme of violence committed in the name of beauty, as well as the relations between the initial romantic idea of art as Sturm und Drang, the concept of the artistic avantgarde attacking the world of bourgeois values and fascist shock troops.

The Director, the Spectator and the Eiffel Tower

2005 ◽  
Vol 30 (1) ◽  
pp. 36-48 ◽  
Author(s):  
DENNIS KENNEDY
Keyword(s):  
Twentieth Century ◽  
Final Section ◽  
Cultural Authority ◽  
Avant Garde ◽  
The Past ◽  
Modern Age ◽  
The World ◽  
The Spectator ◽  
Theatre Historiography

Though directors have been central to the theatre for more than a century, it is not easy to describe their function or explain fully what they do. Since they have not all done the same things, theorizing the office is a slippery enterprise. Despite this difficulty, the cultural authority of directors has become embedded in the thinking of both the commercial and subsidized sectors in most countries in the world, including many parts of Asia, so that directors are fundamental to the way we comprehend and value theatrical work. Though dictatorial modes of direction have been challenged in the past three decades by a variety of strategies, the theatre industry continues to rely heavily upon the managerial and aesthetic skills of the director, who stands as an icon of the successes and failures of twentieth-century theatre. This essay discusses two alternative histories of the director in the modern age, the modernist avant-garde model and an industrial model, showing that the two are much closer than typically claimed. Using André Antoine as case study, the essay offers a critique of certain tendencies in modernist theatre historiography. A final section looks at the interrelationship of the director and the spectator.

scholarly journals VISUAL WORLDS OF Y. LYSYK

2021 ◽  
Vol 3 (1) ◽  
pp. 1-7
Author(s):  
Bohdanova Yu ◽  
◽  
Kopyliak I ◽  
Keyword(s):  
Twentieth Century ◽  
Main Idea ◽  
Visual Images ◽  
Wall Paintings ◽  
Stained Glass ◽  
Personal Attitude ◽  
The World ◽  
Deep Meaning ◽  
The City ◽  
Historical Periods

Contemplating the works of monumental art that surround us in everyday life, you always see the numerous sculptural decorations of Lviv houses, carefully look at the wall paintings of temples, catch the glare of coloured stained glass windows. And the city itself, which has not been subjected to crushing destruction, not only has a considerable number of monumental architectural objects but also acts as a large complex representing the philosophy of different historical periods of society's existence. We see all this almost daily. However, visiting the theatre is always an extraordinary event. You will be especially lucky if the performance is accompanied by scenography developed by the artist Yevhen Lysyk. His style reflects the ideas of the fashion trend of the second half of the twentieth century – postmodernism, which rejected the ideas of rationality and progress and professed to blur the boundaries of artistic genres and interpretive thinking. It erased the boundaries between mass and elite cultures, between the author and the viewer, and plunged into the world of sensations, game and irony. The style of monumental paintings and scenography performed by Y. Lysyk never conveys anything literally. These are the worlds of philosophical worldview, which was reflected in the metaphorical, symbolic, deep-meaning and hyperbolized transmission of images. The main idea is always hidden and does not open immediately. By watching the performance and immersing oneself in it, the viewer emotionally experiences the stories of the characters not only through the performance of the actors but also receiving a visual sensory impulse from the artistic design of the stage. So, a conceptual principle of Y. Lysyk is an idea that art does not reproduce reality, but expresses its essence. The design of the scene should evoke emotions, and should not be taken literally, so visual images through transformation (mimesis) always express a deep philosophical thought. The prototype of scenographic works is often nature, illustrating Leonardo da Vinci's statement that art is a mirror of nature. Y. Lysyk's works are characterized by his attitude to the depicted, a deeply emotional, passionate, and personal attitude. The main idea of the play is expressed by revealing the meanings that are hidden in the visual worlds of Yevhen Lysyk, which is complemented by the libretto and the actors' performance.

Development of the Jewish religious movement "Khabad" in Ukraine in the 20's of the twentieth century

2001 ◽  
pp. 85-90
Author(s):  
O. V. Kozerod
Keyword(s):  
Twentieth Century ◽  
Religious Movement ◽  
Important Research ◽  
The World ◽  
Research Problems

The development of the Jewish religious movement "Khabad" and its organizations in the first quarter of the twentieth century - one of the important research problems, which is still practically not considered in the domestic Judaica. At the same time, this problem is relevant in connection with the fact that the religious movement "Khabad" during the twentieth century became the most widespread and influential area of Judaism in Ukraine and throughout the world.

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