COMPILATION AS A COMPOSITION APPROACH OF CONTEMPORARY ART SCHOOL

It is impossible to create something new in science and art, without first absorbing the experience, knowledge, skills of scientists and artists of the past generation. Even the most original, progressive, and innovative ideas are, in fact, a compilation of previous experience. The compilation technique is one of the main and effective tools of the scientific world. It is also actively used in the creative process of musicians, writers, and filmmakers. The compilation technique is a fairly common phenomenon in the scientific world and art in general, at the same time, its level can be very different, ranging from direct plagiarism to forms of synthesis, the traces of which are very difficult to detect. There are separate genres in art, based on compilation, for instance, a «remake» in cinematography, a «potpourri» in music, a «historical analog» in visual art, and an «artrunion» in literature. Meanwhile, compilation, as one of the forms of the artist's creative method, is a very "delicate" and "vulnerable" matter, sometimes causing a lot of controversy among specialists, since there is no tool that could accurately measure the degree of compilation bordering on plagiarism. If in the scientific world author indicates a list of compilation material, writing an article, then in case of an artist, we will not see it due to specifics of his work. The path of an artist, in terms of the embodiment of an artistic conception, is in many ways spontaneous, and intuitive. On this path, it is very difficult for him to isolate his authorship from the experience of other artists, and as a result, his work is a kind of conglomerate of synthesis. In our study, we consider the compilation technique mainly on the example of the methods of a children's art school work, taking into account the age of a student. At the same time, the compilation technique is a universal method of composition that can be effectively used by teachers in the creative development process. Meanwhile, the compilation technique is a frequent subject of disputes during the competitive selection of creative works and today requires a deeper analysis and public discussion.

Conciliation: Culture Making Byproduct

Reclaiming public space at Oakland's Arroyo Public Park, a nexus of crime and illegal activities. A coalition of neighbors invited local performing artists to help animate city agencies, inspire repair of the amphitheater and create daytime performances in the summer, mostly by children. It gave voice to and represented many people. Reclaiming space for community was the impetus, structured curriculum activates were means. Safe public space and learning were two inseparable goals. Conciliation learning through specific responses, example: Crisis Of Perseverance acute among children and youth lacking role models or witnessing success through perseverance. Artists of all types are the embodiment of achievable mastery and completion. Taking place on redefined historic 1940 passenger-cargo/military ship for public peacetime use and as a cultural space. Mixt generations after and outside school programs: Children and Architecture project’s intention was to integrate children’s internal wisdom of playing with learning about the world of architecture (environment and co-habitability) as starting point was an intergenerational setting: 5-12 olds + parents and volunteers, twice weekly from 1989 to 1995 at the Museum of Children’s Art in Oakland, California. Concluding Examples Public celebration and engagements as inadvertent conciliations if prepared for before hand. Biographical sketch: Slobodan Dan Paich native of former Yugoslavia was born 1945. He lived in England from 1967 to 1985. Slobodan taught the History of Art and Ideas, Design and Art Studio from 1969 through 1985 at various institutions in London, including North-East London Polytechnic, Thames Polytechnic and Richmond College-American University in London. Between 1986 to1992, he taught at the University of California at Berkeley. With a number of scholars, artists, and community leaders, he founded the Artship Foundation in 1992, and has been its Executive Director ever since. He also served as a board member of the Society of Founders of the International Peace University in Berlin/Vienna from 1996 to 2002, where he lectured annually and chaired its Committee on Arts and Culture. [email protected]

A Sociocultural Approach to Children’s Visual Creations

This chapter locates the book within the research on children’s art. It explores interpretations of children’s visual creations throughout the twentieth century and situates the approach of the book within the research landscape. The authors take developmental psychological, educational, and aesthetic approaches to form a sociocultural view of children’s art, challenging many of the previous research assumptions. Through adopting the paradigm of the sociocultural approach, the authors embrace its view of children as competent cultural actors and active participants in cultural production. Thus, the discussion focuses on meaning-making: the authors analyze visual artifacts made by students to understand how they engage with the idea of the difference.

Comics as enchantment: For the sake of affect and imagination

A lot is happening at the drawing table. Children are busy inventing stories, reassembling their thoughts, gleaning knowledge and making decisions. This article digs deep to see what is going on the children's art-making through drawing and reading comics. In an after-school drawing club the author reveals how children are transformed through comic book drawing, realising their body's potential to use images to tell a story. Drawing from imagination, memory and inventing brazen story lines, the body steps out of the present and moves into the future, into 'What's next? The ownership of the seriated drawn ideas leaps ahead, using all kinds of memory- what the child has seen, experiences, and can imagine as possibility. This all entails choosing which decisions make the most sense, delighting in affect. I call this entanglement with tools and memory to build a comic material aliveness. As children move through life, they have a faint sense that affects are there. The act of drawing – a physical engagement with materials stretches thinking and allows for deep immersion with affects which develop empathy and self-compassion.

Integration of new trends in musicology as a way to reform the children's art school

The paper discusses ways of solving the problem of fragmentation of the educational process in the modern Children's School of Arts due to subject segregation. The author proposes ways to solve this problem by implementing the principles of integration in the context of mastering the innovative course “Musical content”. The technologies of a holistic integrative approach have been developed, combining the cycle of theoretical disciplines with each other, as well as with performing and artistic specialties.

Children’s Art Exhibitions in Brazil: A Modern Badge for the New Man

In this article we analyze, within the context of the decades between 1940 and 1960, children’s art exhibits as a strategy for asserting the importance of Art in educating and developing a child’s personality, using newspaper articles, pictures, children’s drawings, reports and other institutional documents as sources. The artistic vanguards of the early 20th century, advocates of the artist’s self expression, and the acknowledgement – by Psychology and Pedagogy – of the specificities of being a child have resulted both in the defense of the child’s freedom of artistic expression, and in a renewal of Art and education concepts of that period of time. As of the mid ‘40s, children’s art caught UNESCO’s attention because it represented potential integration and fraternity among people and the desire to build a new Man. Such exhibits acted as showcases for several ideas and justified the importance of children’s art involving, in the Brazilian context, from governmental agencies to national newspapers and private companies. Aiming at inculcating an educational conduct based on assumptions such as the unrestricted freedom of children’s creative spirit they had, as a contradiction, the censorship of themes considered unsuitable such as violence, and the need to follow a pre-defined esthetic standard.

THE ROLE OF ARTISTIC DEFORMATION IN CHILDREN’S FINE ARTS

The artistic deformation in children’s art is done unconsciously. It is observed in the change in the shape, proportion and color of an object or object. This is due to the exceptional desire of the child to convey greater expressiveness of his drawing, emphasizing the most important image for him. The deformation characteristic of this age period conveys a uniqueness and uniqueness of the children’s drawing. The use of specific methods of fine arts contributes to the stimulation of creative imagination and the manifestation of individual inclination to different ways of deformation. Stimulation of creative thinking increases the expressiveness of children’s fine arts. appearances.