"THE STARRY WIND OF CASSIOPEIA" BY VICTOR ULYANICH: EXPERIENCE IN ANALYSING COMPUTER AND AUDIOVISUAL COMPOSITIONS

2021 ◽  
Vol 1 (1) ◽  
pp. 50-58
Author(s):  
M. A. Stepanova ◽  
Keyword(s):  
Creative Process ◽  
Fractal Nature ◽  
Creative Collaboration ◽  
Iannis Xenakis ◽  
First Case ◽  
Audiovisual Work ◽  
Artistic Image ◽  
Computer Composition

The article regards two versions of the work "The Starry Wind of Cassiopeia" by composer Viktor Ulyanich. The first is an eponymous composition, written in 1990 on a UPIC musical computer in the Paris studio of Iannis Xenakis, the second is an audiovisual work "Cassiopeia", which was the result of creative collaboration between Viktor Ulyanich and the artist Olga Kumeger. Compositions are presented as fundamentally synesthetic phenomena, since in both cases the graphical and musical components are inextricably linked. In the first case, timbres are synthesized through the lines; in the second, they participate in the formation of a new artistic unit. The stage of pre-composition work is a very important phase in the creative process for Viktor Ulyanich. This is the period of ideas defining the formation of the artistic image and the organization of the musical fabric. Here, such an idea was the recognizable w-shaped arrangement of the five brightest stars in the constellation of Cassiopeia. It became the basis of the work's dramaturgy, its dynamic and register plan, and was reflected in the color-graphic matrix and graphic timbre-themed elements, thereby determining the fractal nature of the computer composition.

scholarly journals The Phenomenon of World Image in Fine Arts

2021 ◽  
pp. 14-17
Author(s):  
Natal’ya L. Varova
Keyword(s):  
Creative Process ◽  
Fine Arts ◽  
Self Awareness ◽  
Modern Times ◽  
The World ◽  
The Creation ◽  
The Mind ◽  
Artistic Image ◽  
Material Form ◽  
World Image

The article shows that the basis of the achievements of the Modern Times art is the formation of the idea of the world in the mind of the artist. The attractor, the assemblage point of the phenomenon is the completeness of the experience of the multidimensional composition of being. The phenomenon of the image of the world is formed in voluntary acts of self-awareness throughout the artist’s life. In the creative process, the development of an ideal artistic image and the creation of a material form of its embodiment occur in relation to the phenomenon of the image of the world.

scholarly journals Circus suit as a means of artistic expression

2021 ◽  
Author(s):  
Оleksandra Ilnitskya
Keyword(s):  
Art History ◽  
Performing Arts ◽  
Innovative Strategy ◽  
Current Trends ◽  
First Case ◽  
History Analysis ◽  
Important Means ◽  
Organic Combination ◽  
Artistic Image ◽  
Functional Purpose

The purpose of the article is to identify the specifics of the costume as an expressive means of circus art, as well as to consider its function as a formative component of a circus show and to determine the role and capabilities of a circus costume in the process of creating an image. Methodology. The method of art history analysis and the systemic method were applied, which contributed to the systematization of the expressive means of circus art; the method of artistic and stylistic analysis and the typological method in order to identify the specifics of a certain artistic and expressive means and the main non-creative forms of creating a circus image with its help; the method of structural analysis of circus performances (to identify the peculiarities of the viewer's perception of the visual series as a whole and the role in its formation of the circus costume), etc. Scientific novelty. The circus costume is investigated as one of the means of expressiveness of circus art; the peculiarities of the perception of the costume in the circus act and the current trends of its use in the context of the introduction of the latest technologies for creating a circus show are revealed; the specificity of the evolution of the circus costume at the present stage of the development of the performing arts in general and circus in particular is characterized. Conclusions. The circus costume is an important means of expressiveness of modern circus art, which is intended to enhance the imagery and artistry of the circus program in general and the performance in particular, organically combining with musical design, props, apparatus or projectiles, lighting, plastic or choreographic solutions and affects the viewer within artistic image. The study revealed that the development of a circus costume as an expressive means is based on the analysis of the nature of the stunt work in the room, taking into account the complex of physical, mechanical and aesthetic features of fabrics, organic combination with other expressive means in accordance with the imaginative vision of the director. The functional purpose of the circus costume in a plot and plotless circus performance is excellent: in the first case, the costume creates a specific artistic image and enhances the semantic and content component of the performance, and in the second, it is not only an application for an arena image of the artist but in fact is the visual essence of this image. Modern circus costumes are characterized by the uniqueness of their compositional character, which reflects the interpretational logic of postmodernism and is expressed in a semantic game, an innovative strategy for using historical stylistics, etc.

Exploring Constrained Creative Communication

2017 ◽  
Vol 9 (4) ◽  
pp. 1-23 ◽  
Author(s):  
Jannick Kirk Sørensen
Keyword(s):  
Creative Process ◽  
Creative Collaboration ◽  
Face To Face ◽  
Communication Problem ◽  
Exchange Of Information ◽  
Online Tools ◽  
Project Groups

Creative collaboration via online tools offers a less ‘media rich' exchange of information between participants than face-to-face collaboration. The participants' freedom to communicate is restricted in means of communication, and rectified in terms of possibilities offered in the interface. How do these constraints influence the creative process and the outcome? In order to isolate the communication problem from the interface- and technology problem, we examine via a design game the creative communication on an open-ended task in a highly constrained setting, a design game. Via an experiment the relation between communicative constraints and participants' perception of dialogue and creativity is examined. Four batches of students preparing for forming semester project groups were conducted and documented. Students were asked to create an unspecified object without any exchange of communication except the placement of LEGO™ bricks.

The Story of Us: Constructing Creative Partnerships Through Collaboration

2019 ◽  
Vol 28 (1) ◽  
pp. 4-14
Author(s):  
Stephen Southern
Keyword(s):  
Object Relations ◽  
Case Studies ◽  
Creative Process ◽  
Narrative Therapy ◽  
Schema Therapy ◽  
Creative Collaboration ◽  
Self Development ◽  
Relationship Of

Drawing constructs and techniques from object relations, schema therapy, and narrative therapy, this article explored means for constructing successful partnerships in collaboration and mentoring. Selected psychodynamics account for the phases and stages in creative collaboration. The initially hierarchal relationship of mentoring is instigative for reparenting and co-constructing of new perspectives. Self-development and service to the community occur within the context of the bridge between you and me. Case studies of mutuality and collaboration were presented to emphasize key constructs and helpful practices. Recommendations were offered to fuel the creative process of collaboration.

scholarly journals The Dynamic Poetics in the Text History of Lermontov’s Poem “The Dream”

2020 ◽  
Vol 27 (1) ◽  
pp. 130-145
Author(s):  
Irina A. Kiseleva ◽  
Ksenia A. Potashova
Keyword(s):  
Creative Process ◽  
Natural World ◽  
Main Text ◽  
Final Version ◽  
History Of ◽  
Body And Soul ◽  
The Creation ◽  
Artistic Image ◽  
The Given ◽  
Immortality Of The Soul

<p>The article focuses on the analysis of the poetic genesis of Lermontov&rsquo;s poem &ldquo;The Dream&rdquo; (1841) that manifests itself in the author&rsquo;s corrections in the rough copy and in the clean one. There was carried out a reconstruction of the poet&rsquo;s creative process, of his work on the contexture and the creation of a completed artistic image. The article presents the transcription of the poem&rsquo;s rough and clean copies including alterations and symbols of the manuscript. It has been proved that while the first versions in the main text identify three dreams, the final version keeps only two of them. In the course of his work on the text the poet chooses not to introduce the image of a dream into the first poem, but makes it clear that everything is happening in the dream only by means of the title. This technique increases the reality of the given image. In the analysis of the poem&rsquo;s dynamic poetics a special emphasis is made on the registration of the landscape details changes due to which the poet conveys his perception of the natural world and his place in it as a&nbsp;body and soul creature. The narrator&rsquo;s feelings of desolation and abandonment in the natural world get worse from the rough copy to the clean one, and at the same time grows his anxiety for the unanimity with his mistress who, as the hero himself, has a spiritual sight. The capacity of the characters for empathy and the experience of bodily death assert the poet&rsquo;s faith in the immortality of the soul.</p>

PIECE Together

2019 ◽  
pp. 215-230
Author(s):  
Jack A. Goncalo ◽  
Joshua H. Katz ◽  
Lillien M. Ellis
Keyword(s):  
Creative Process ◽  
Work Groups ◽  
Theoretical Perspective ◽  
Future Research ◽  
Creative Work ◽  
Creative Collaboration ◽  
Team Creativity ◽  
Social Sanctions ◽  
Behavioral Mechanisms

Norms regulate and direct behavior in groups, but the role that norms play in the creative process has been controversial. This chapter develops a theoretical perspective in which norms are tools that can be leveraged to facilitate creativity in teams. It begins by identifying a set of five key behaviors that support creative collaboration—the PIECE(s) of team creativity—Participation, Independence, Elaboration, Communication, and Exploration. It then identifies specific norms that can encourage the emergence of each of the five critical behaviors, the conditions that make these norms salient, and the underlying psychological and behavioral mechanisms through which norms impact creativity. It also reviews recent and growing evidence suggesting that strengthening creativity-relevant norms with the threat of overt social sanctions can encourage the emergence of behavior appropriate to the task of being creative and thus facilitate, rather than thwart, creative collaboration. Finally, it concludes with suggestions for future research on norms in creative work groups.

scholarly journals N. K. Metner – Reflecting Artist: Composer, Pianist, Teacher

2020 ◽  
Vol 8 (1) ◽  
pp. 73-89
Author(s):  
Olga S. Danilova
Keyword(s):  
Creative Process ◽  
Performance Style ◽  
Holistic Understanding ◽  
Literary Heritage ◽  
Essential Questions ◽  
Characteristic Features ◽  
And Performance ◽  
Relationship Of ◽  
Artistic Image ◽  
The Relationship

The article is devoted to understanding the role of reflection in the multifaceted activities by Nikolai Karlovich Metner, a remarkable composer, an outstanding pianist of the 20th century, an originally thinking philosopher. We analyze the relationship of creative reflection, reflected in his literary heritage, with the author’s performing interpretations. The organic connection between the Master of composer’s thinking and performance style in the creative process is revealed. The following aspects are considered: reflection in Metner’s performance of the main composer goals and features of the composition process; the relationship of the performing style and aesthetic positions of the musician in matters of piano art. According to the author of the article, reflection as the most important feature of N. K. Metner’s creative consciousness is included in the process of composing and performing music the “dialogue with oneself” is part of the artistic image of the works that he creates, and the essence of his interpretative intentions. A holistic understanding of the art of interpretation and reflection by Metner-composer and pianist can give a key to understanding the characteristic features of his unique manner of performance, and allow us to feel the continuation of the creative process of composing music in it. It is concluded that the study of the reflexive processes by N. K. Metner in his philosophical and methodological works helps modern teachers to realize the most important professional tasks: to teach young musicians to think critically, to pose essential questions, to find their own strategies for mastering the artistic content of the studied works, and analyze their own performing experience in detail.

scholarly journals Reconstruction of Creative History of Poem by M. Yu. Lermontov “They Loved Each Other for so Long and Dearly...” (1841) as a Way of Understanding the Meaning of Text

2020 ◽  
pp. 265-282
Author(s):  
I. A. Kiselyova ◽  
K. A. Potashova ◽  
E. A. Sechenych
Keyword(s):  
German Text ◽  
Creative Process ◽  
Textual Analysis ◽  
Eternal Life ◽  
Free Translation ◽  
History Of ◽  
Semantic Transformation ◽  
Artistic Image ◽  
First Time

Dynamic poetics is analyzed - from draft to clean manuscript - the poem by M. Yu. Lermontov “They loved each other for so long and dearly ...” (1841), which is a free translation of the poem by H. Heine. Based on a comparison of the transcription of clean manuscript and two draft manuscripts of the poem, as well as the source - the German text - Lermontov’s creative process, his work on choosing the exact word and creating an integral artistic image is reconstructed. The article outlines the causes and mechanisms of Lermontov’s textual corrections that help to understand the movement of author’s thought. The process of Lermontov’s work on the text is associated with the emotional saturation of the “skeletal part” of a German source. Based on the textual analysis of the manuscripts of Lermontov’s poem from the “Notebook presented by V. F. Odoyevsky”, the semantic transformation of the source of the poem is traced, the process of enhancing the tragedy of the text achieved through its openness to eternity is revealed. The relevance of the problem is seen in the need to clarify the originality of the artistic imagery of Lermontov’s poem, to identify the reasons for the strength of its aesthetic impact on the reader, as well as the ontological meaning of the text. The semantic evidence of the text is revealed in the need for direct relations “here and now”, in understanding eternal life as a continuation of the mortal life. The novelty of the study has a factual (for the first time the creative process of composing a poem is presented in as much detail as possible) and interpretative in nature, associated with the refinement of Lermontov's worldview.

scholarly journals An Architect Draws Sound and Light: New Perspectives on Iannis Xenakis's Diatope and La Légende d'Eer (1978)

2018 ◽  
Vol 41 (4) ◽  
pp. 8-31
Author(s):  
Elisavet Kiourtsoglou
Keyword(s):  
Creative Process ◽  
Electroacoustic Music ◽  
Theory And Practice ◽  
Geometric Representation ◽  
Iannis Xenakis ◽  
Original Space ◽  
Research Findings ◽  
Analytical Research ◽  
First Time ◽  
Over Time

This article examines the creative process of Diatope, a multimedia project created by Iannis Xenakis in 1978 for the inauguration of the Centre Pompidou in Paris, utilizing analytical research of sources found in several archives. By interpreting Xenakis's sketches and plans, the article elucidates for the first time the spatialization of La Légende d'Eer, the music featured in the Diatope. The findings of the research underline the importance of graphic and geometric representation for understanding Xenakis's thinking, and they highlight the continuity and evolution of his theory and practice over time. Furthermore, the research findings present the means by which this key work of electroacoustic music might be spatialized today, now that the original space of the Diatope no longer exists.

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