Trans‑Image in Viktor Sidorenko’ Creative Work

2021 ◽  
Vol 2021 (1) ◽  
pp. 51-56
Author(s):  
Z. Alforova ◽  
Keyword(s):  
Visual Art ◽  
Morphological Changes ◽  
Visual Space ◽  
Semantic Content ◽  
Classical Type ◽  
Creative Work ◽  
Pictorial Space ◽  
Instrumental System ◽  
New Type ◽  
Classical Image

The aim of the article is to investigate the transformation of the image as a morphological unit of modern visual art on the example of the creative work of a Ukrainian artist and researcher of modern visual art Viktor Sidorenko. The research methodology is based on the methods developed in the works of J. Landsdown and S. Schofield, S. Yerokhin and others. The paper presents an attempt to study a new type of image – post-post-classical image, which has an ontologically transgressive character. The research has important implications for understanding the modern morphological changes in the visual sphere, the instrumental system of these changes that ensures the presence of its two mutually antithetical trends: transgressive and synergetic. The author analyzes the publications in which the link between the morphology of the visual sphere and the latest developments in the creation of visual space are explored. The choice of Victor Sidorenko’s creative work as a research material is not accidental. It is in the work of this artist that the genesis of the modern post-post-classical image and the transformation of its space as polymorphic can be clearly traced. The attraction to photographicity on the one hand, and author coding, on the other, becomes an ontological feature of V. Sidorenko’s authorial construction of pictorial space and in further creative searches. A certain culmination of this stage in the artist’s visual work is the already famous full‑scale visual project “The Mill of Time” (2003). It is in this project that V. Sidorenko creates a trans‑image as a space of a new type, in which photography, installation, painting, living objects and video projection create a post-classical type of image. The paper considers Victor Sidorenko’s creative work as a vivid example of the genesis of the image, whose ontological feature is its transgressive character. This is an image of the post-post-classical type, whose pictorial space can consist of classical, non‑classical and post-classical images. At the present stage, there have been changes in the strategies of representation of the trans‑image as such. The main strategy of its representation is a polymorphic visual project, which synergistically combines different types of images, bringing their semantic content beyond a stable visual form.

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 The theme of the city in the creative work of Vasily Kandinsky

2020 ◽  
Author(s):  
Ольга Николаевна Филиппова
Keyword(s):  
Visual Art ◽  
Artistic Expression ◽  
Creative Work ◽  
The City

Статья посвящена творчеству Василия Кандинского, русского художника и теоретика изобразительного искусства, стоявшего у истоков абстракционизма. В центре внимания автора живописные картины, посвященные городу. В отличие от наиболее изученных мощных абстрактных произведений В.В. Кандинского городская тема представляет еще много возможностей для изучения средств художественной выразительности и развития его творческого метода. В результате анализа произведений разных лет в контексте биографии и мировоззрения художника автор статьи раскрывает развитие московской темы в искусстве В.В. Кандинского. Особое внимание уделено его московским картинам Москва I , или Москва. Красная площадь , Москва. Зубовская площадь и др. Как будто предчувствуя скорую разлуку с любимым городом навсегда, он хотел запечатлеть его в своих работах и в памяти. The article is devoted to the work of a Russian artist and visual art theorist who was at the origin of abstractionism Vasily Kandinsky. The author focuses on paintings dedicated to the city. In contrast to the most studied powerful abstract works of V.V. Kandinsky, the urban theme still presents many opportunities for studying the means of artistic expression and developing his creative method. As a result of the analysis of works from different years in the context of the artists biography and worldview, the author of the article reveals the development of the Moscow theme in the art of V.V. Kandinsky. Special attention is paid to his Moscow paintings Moscow I, or Moscow. Red square, Moscow. Zubovskaya square and others.

scholarly journals Space oddity: musical syntax is mapped onto visual space

2021 ◽  
Vol 11 (1) ◽  
Author(s):  
Neta B. Maimon ◽  
Dominique Lamy ◽  
Zohar Eitan
Keyword(s):  
Spatial Perception ◽  
Physical Space ◽  
Visual Space ◽  
Lateral Position ◽  
Vertical Position ◽  
Musical Structure ◽  
Spatial Metaphors ◽  
Musical Syntax ◽  
Musical Discourse ◽  
New Type

AbstractIncreasing evidence has uncovered associations between the cognition of abstract schemas and spatial perception. Here we examine such associations for Western musical syntax, tonality. Spatial metaphors are ubiquitous when describing tonality: stable, closural tones are considered to be spatially central and, as gravitational foci, spatially lower. We investigated whether listeners, musicians and nonmusicians, indeed associate tonal relationships with visuospatial dimensions, including spatial height, centrality, laterality, and size, implicitly or explicitly, and whether such mappings are consistent with established metaphors. In the explicit paradigm, participants heard a tonality-establishing prime followed by a probe tone and coupled each probe with a subjectively appropriate location (Exp.1) or size (Exp.4). The implicit paradigm used a version of the Implicit Association Test to examine associations of tonal stability with vertical position (Exp.2), lateral position (Exp3) and size (Exp.5). Tonal stability was indeed associated with perceived physical space: the spatial distances between the locations associated with different scale-degrees significantly correlated with the tonal stability differences between these scale-degrees. However, inconsistently with musical discourse, stable tones were associated with leftward (instead of central) and higher (instead of lower) spatial positions. We speculate that these mappings are influenced by emotion, embodying the “good is up” metaphor, and by the spatial structure of music keyboards. Taken together, the results demonstrate a new type of cross-modal correspondence and a hitherto under-researched connotative function of musical structure. Importantly, the results suggest that the spatial mappings of an abstract domain may be independent of the spatial metaphors used to describe that domain.

scholarly journals Axiological Linguistics and Nationally Oriented Lexicography: Experience of Interaction (On the Material of Russian-Vietnamese Comparisons)

2021 ◽  
pp. 101-113
Author(s):  
Аleksandr Mamontov ◽  
◽  
Vera Boguslavskaya ◽  
Ekaterina Budnik ◽  
Albertina Ratnikova ◽  
...  
Keyword(s):  
Intercultural Communication ◽  
Semantic Content ◽  
Value Orientations ◽  
Russian Language ◽  
Primary System ◽  
Language And Culture ◽  
Ethnic Consciousness ◽  
Scientific Disciplines ◽  
New Type ◽  
Cultural Component

The article touches upon the issues of theoretical and applied nature and reflects the essence of two adjacent linguistic scientific disciplines interaction, each studying the phenomenon of values that influence the formation of speech, behavioural and the communicative competence of a person. The authors consider this interaction future implementation in a unique lexicographic source designed to optimize the process of learning a language as a means of intercultural communication. Thus, authors are talking about a future dictionary, called "linguistic and cultura" and introducing the cultural component of the semantics of the units included in its vocabulary. The methodology for creating the concept of a dictionary is based on the analysis of the linguo-cognitive value system, where the concepts accentuate phenomenon, which allows one to explicate the specifics of the ethnic consciousness of a non-lingual culture representative. As examples of considering the semantic content, the authors offer the values as "love" and "labour", which are included in the primary system of values of the native speakers of the Russian language and culture. A strategy for the study of interaction of two related scientific disciplines was introduced: axiological linguistics and educational lexicography enable the creation of a new type of dictionary – a nationally oriented linguistic and cultural dictionary for the Vietnamese audience studying Russian as a means of intercultural communication. The article describes the experimental procedure, which is based on the theoretical and methodological framework. The analysis of the results obtained, revealed the specificity of the value orientations of the compared linguocultures. The research data relevance to educational lexicography theoretical and applied aspects is established. The contrasted research material, represented in the article, corresponds to the goals and objectives of the nationally oriented study.

scholarly journals THE CELLULAR CHANGES PRODUCED IN TISSUE CULTURES BY HERPES B VIRUS CORRELATED WITH THE CONCURRENT MULTIPLICATION OF THE VIRUS

1955 ◽  
Vol 101 (3) ◽  
pp. 341-352 ◽  
Author(s):  
Magdalena Reissig ◽  
Joseph L. Melnick
Keyword(s):  
Morphological Changes ◽  
Culture Fluid ◽  
Classical Type ◽  
Infective Virus ◽  
Intact Cells ◽  
Virus Particles ◽  
B Virus ◽  
Infected Cells ◽  
Herpes B Virus ◽  
Inclusion Material

A sequential study is reported of the morphological changes occurring after herpes B virus infection of cells as revealed in ultrathin sections under the electron microscope. Monolayer cultures of renal epithelial cells prepared from the natural host of the virus, the monkey, were infected, and the cellular alterations were correlated with the appearance of infective virus in the culture fluids. The morphological changes consisted in swelling of the cells and disappearance of the nucleolus, followed by margination and gradual decrease of the nuclear chromatin. The inclusion material corresponded to the clear central areas of the nucleus, where the chromatin had disappeared. In the late stages of infection this inclusion material filled the nucleus and formed a classical type A inclusion body. Characteristic particles appeared in the nucleus and cytoplasm of the infected cells a few hours after inoculation. They had a dense center surrounded by one or two membranes. Those with one membrane ranged in size from 60 to 100 mµ and those with two from 120 to 180 mµ. Particles showing the same wide variation in size and structure were seen both in the nucleus and in the cytoplasm. They were first visible on the external surface of the swollen but intact cells at about the same time new infective virus became detectable in the culture fluid. A small number of the extracellular, and cytoplasmic, virus particles appeared "binucleated," containing two central bodies, each having its own membrane, both being surrounded by a single external coat. About 180 mµ in diameter, they were randomly distributed among the "mononucleated" particles.

Classical RS1 and environmental RS1 elements in Vibrio cholerae O1 El Tor strains harbouring a tandem repeat of CTX prophage: revisiting Mozambique in 2005

2010 ◽  
Vol 59 (3) ◽  
pp. 302-308 ◽  
Author(s):  
Seon Young Choi ◽  
Je Hee Lee ◽  
Eun Jin Kim ◽  
Hye Ri Lee ◽  
Yoon-Seong Jeon ◽  
...  
Keyword(s):  
Cholera Toxin ◽  
Vibrio Cholerae ◽  
Tandem Repeat ◽  
Small Chromosome ◽  
Classical Type ◽  
Large Chromosome ◽  
New Type ◽  
Vibrio Cholerae O1 ◽  
Ctx Prophage ◽  
El Tor

Currently, Vibrio cholerae O1 serogroup biotype El Tor strains producing classical type cholera toxin (altered strains or El Tor variants) are prevalent in Asia and in Mozambique. Mozambican strains collected in 2004 contained a tandem repeat of CTX prophage on the small chromosome and each CTX prophage harboured the classical rstR and classical ctxB. We found that the majority of the strains collected in 2005 in Mozambique contained extra elements on the large chromosome in addition to the tandem repeat of CTX prophage on the small chromosome. New type RS1 elements RS1cla and RS1env, and a CTXenv with rstR env and the classical ctxB were identified on the large chromosome of the Mozambican isolates collected in 2005.

scholarly journals Space Oddity: Musical Syntax is Mapped onto Visual Space

2021 ◽  
Author(s):  
Neta Batya Maimon ◽  
Dominique Lamy ◽  
Zohar Eitan
Keyword(s):  
Implicit Association Test ◽  
Physical Space ◽  
Visual Space ◽  
Lateral Position ◽  
Implicit Associations ◽  
Vertical Position ◽  
Musical Structure ◽  
Musical Discourse ◽  
New Type ◽  
The Stability

Abstract Musicians ubiquitously apply spatial metaphors when describing the stability hierarchy established by tonal syntax: stable tones are considered spatially central and, as gravitational foci, spatially lower. We investigated whether listeners, musicians and non-musicians, indeed associate tonal relationships with visuospatial dimensions, including spatial height, centrality, laterality, and size, and whether such mappings are consistent with tonal discourse. We examined explicit and implicit associations. In the explicit paradigm, participants heard a tonality-establishing prime followed by a probe tone and coupled each probe with a subjectively appropriate location on a two-dimensional grid (Exp. 1) or with one of 7 circles differing in size (Exp. 4). The implicit paradigm used a version of the Implicit Association Test to examine associations of tonal stability with vertical position (Exp. 2), lateral position (Exp. 3) and object size (Exp. 5). Tonal stability was indeed as- sociated with perceived physical space: the spatial distances between the locations associated with different scale-degrees significantly correlated with the tonal stability differences between these scale degrees. However, inconsistently with the hypotheses implied by musical discourse, stable tones were associated with leftward and higher spatial positions, relative to unstable tones, rather than with central and lower spatial positions. We speculate that these mappings are influenced by emotion, embodying the “good is up” metaphor, and by the spatial structure of music keyboards. Taken together, results suggest that abstract syntactical relationships may consistently map onto concrete perceptual dimensions across modalities, demonstrating a new type of cross-modal cor- respondence and a hitherto under-researched connotative function of musical structure.

scholarly journals The size of objects in visual space compared to pictorial space

2019 ◽  
Vol 19 (10) ◽  
pp. 16
Author(s):  
Adam O Bebko ◽  
Nikolaus F Troje
Keyword(s):  
Visual Space ◽  
Pictorial Space

scholarly journals Where to Share? A Systematic Investigation of Creative Behavior on Online Platforms

2021 ◽  
Vol 8 (1) ◽  
pp. 108-123
Author(s):  
Simon M. Ceh ◽  
Mathias Benedek
Keyword(s):  
Visual Art ◽  
Systematic Investigation ◽  
Creative Expression ◽  
Creative Work ◽  
Creative Behavior ◽  
Domain Specific ◽  
Everyday Activities ◽  
Online Platforms ◽  
Creative Products ◽  
Performing Art

Abstract Digitalization, underpinned by the ongoing pandemic, has transferred many of our everyday activities to online places. In this study, we wanted to find out what online outlets people use to share their creative work and why they do it. We found that most people posted creative work online at least a few times per year. They especially shared creative content related to creative cooking, visual art, and literature but hardly related to performing art. YouTube, Facebook, and Instagram were the three platforms with the highest familiarity and usage rates; among these, YouTube was most strongly used passively (i.e., to view creative content), while Instagram was most strongly used actively (i.e., to post one’s own creative content). We could further differentiate platforms that were domain-specific (e.g., Stackoverflow for scientific/technological creativity) from platforms that offer a broader variety of creative content (e.g., Reddit, Blogger). The reasoning behind posting one’s creative work online resembled a mixture of technological facilitation, alongside heightened accessibility that allows for feedback and bringing pleasure to one’s followers and friends. All in all, this study provides a first overview of where and why people share their creative products online, shedding light on timely forms of creative expression.

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