Directions of using Visual resources in teaching for a student specializing in art education teacher at the Hashemite University: اتجاهات اسْتخدَام المَصادر البَصريَة في التدريس لدى طَلَبْة تَخْصص مُعلم التربية الفنية في الجامعة الهاشمية

This study targeted to uncover the trends of using of visual sources in the teaching process, Art Education at the Hashemite University was devoted to and identify the effect of both gender and experience on visual sources. The sample consisted of field training students in the fourth year art education major in the College of Science Pedagogical Among the students of the Hashemite University for the academic year 2019/2020, and they were chosen in an intentional way and were developed to measure these trends and were of sufficient validity and stability for the purposes of this study, and the study tool was distributed to all students, as their number reached (583)Male and female students The study found the following results: The results of the study revealed positive trends for me Students, Towards the use of visual sources in a process Teaching, there were statistically significant differences attributed to sex and that in favor of females Where I got an arithmetic mean (3.49), while males got a mean (3.30), and the difference was statistically significant at the level of (α=0.05). While there were also statistically significant differences attributed to the experience in visual sources and equipment, in favor of the average experiences, as they got an arithmetic average (3.54), while the large experiences got an arithmetic average (3.53), and the few experiences got an arithmetic mean (3.41), and the difference was statistically significant at the level of (α=0.05). It yielded search results The researcher presented a number of recommendations About The use of visual sources in the teaching process.

Integration of virtual and augmented reality into art

The purpose of the article is to explore the transformation of artistic practices under the influence of virtual and augmented reality. The methodology is based on the application of the dialectical method, which allows to reveal the specifics of virtual / augmented / mixed realities through the prism of the dialectic of interaction between technology and man. The scientific novelty of the results is the analysis of the essence of the transformation of artistic practices under the influence of virtual and augmented reality, in particular, introduced into scientific circulation data on art projects using innovative technologies of augmented and mixed reality as a clear example of integration of the latter into art. Transboundary is considered from two points of view - the convergence of art and its reconstruction. It is stated that the implementation of projects using AR and VR technology is currently impossible without the appropriate logistics and computer technology skills. The indirectness of translation and perception of cultural experience by digital devices that determine a new technological format of personality inculturation is considered. Conclusions. These changes affect all spheres of society, erasing the spatio-temporal boundaries and involving people in an interactive creative process. Art responds most dynamically and reflects all changes in society, and modern cultural institutions are forced to take into account these trends and on this basis to form strategies for development and interaction with various stakeholders based on the use of virtual (VR), augmented (AR) reality. The difference between virtual art and other forms of art using computer technology is that its basis is not representation, but communication. Thus, numerous creative projects, implemented with the help of augmented and mixed reality, demonstrate the active use of technology in art, in the process of creating a movie, virtual exhibitions, etc.

Postmodernism: The American T.V. Show, 'Family Guy, As a Politically Incorrect Document

Postmodernism is a movement that grew out of modernism. Movements in art, literature, and cinema focused on a particular stance. The visual artists who created entertainment focused on expressing the creator herself/himself beginning from German expressionism to modernism, surrealism, cubism, etc. These art movements played an important part in what an artist (literature, art, and visual) portrayed to his or her audience. As perspectives played an important part, an understanding of what the artist needed to portray was critical. Modernism dealt with this portrayal, which came about due to the changes taking place in society. In terms of the industry, where the overall product dealt with features like individualism, experimentation and absurdity, modernism dealt with a need to overthrow past notions of what painting, literature, and the visual arts needed to be. "After World War II, the focus moved from Europe to the United States, and abstract expressionism (led by Jackson Pollock) continued the movement's momentum, followed by movements such as geometric abstractions, minimalism, process art, pop art, and pop music." Postmodernism helped do away with these shortcomings. An understanding of postmodernism is explored in this paper. The main point which sets it apart is concepts like pastiche, intersexuality, and spectacle. Concerning pop culture, an understanding of referencing is a constant trait used by postmodern art. Postmodern television and the central part of this study applied to the popular animated American TV show, 'family guy' is a postmodern show in its truest form, while attempting to use certain aspects of postmodernism tropes to help emphasize that visual art can be considered a historical document while doing an in-depth analysis of the visual text of 'family guy by itself, several other research papers were used to help further put in stone that 'family guy' is a true representation of postmodern television. It is divided into two phases of data collection: context analysis, which involves a qualitative study. The second being in-depth interviews (also qualitative) which in itself helps give a subjective view of participants between the ages of 20 and 28. These comprise students who are familiar with the show and the concepts of the show. All of them, both frequent viewers of the show and those also politically informed of world politics, helped further emphasize the concept of the paper, which was the idea of how a television show in all its absurd narrative and pastiche functions as a historical document. The purpose of this study, along with the results for this research, is to help bring about the comprehension of how postmodern shows are influenced by other past events, figures of history, etc.; this understanding can explain how a television show like 'family guy could be considered a historical document – by its narrative, by the cultural references connected to these said events, and also with the help of paintings, which the makers of the show use to design the episode of the show, and which reflect and refer to the actual historical figures. Historiography is being proven to be biased in more ways than one, which leads us to an understanding of a different narrative depending on one’s own opinions of history and historical documents as we know it.

Trends in the Art Criticism Development in the Context of Modern Art Market (on the Example of Kyiv Situation)

In modern realities, the degree of culture dependence on economic factors is consistently high. It is confirmed by the art world that is more and more oriented towards the global art market, which sphere of interest is commerce that moreover envisages the establishment of communication and regulation of the relationship “artist-consumer / recipient”. Consequently, the art market (despite the differences in the logic of art dealings: the art market considers it as the means of profit making; criticism tends to clarify the artistic value according to the time period) has functions identical to artistic criticism, in particular, sociocultural and regulatory. They provide for / support the formation of the artistic expression value, its actualization and functioning in the cultural sphere of our time and, as a result, interest and the formation of demand for certain art practices and names. In addition, art criticism and the contemporary art market have a certain influence on the artists themselves: judgments of art criticism, the demand for some art practices and names in the art market are to particular extent guides for authors (those who do not exclude themselves from the art market), factors of influence on further transformations in their creative activity. These circumstances, firstly, allow us to consider the art market not only in the economic field (as an economic category), but also as an interdisciplinary phenomenon of great importance for culture; secondly, it rises the practical value of exploring the interaction issue of these institutions / subjects of the cultural process (art market and art criticism), the degree of their interdependence and disclosure, dictated by the art market changes in the art criticism activities, which will determine the role of the art market and art criticism in sociocultural field. It is necessary to note that the main trends in the development of art criticism in the context of the contemporary art market are its growing dependence on commercial factors, marketing, the significant decrease in serious non-biased materials expressing the independence of their authors’ views (detailed analysis and professional interpretation of the artistic processes). This niche is being actively filled by amateur publications, information genres and advertising materials. The depicted situation creates the preconditions for providing a significant role in the artists’ selection and attraction to the commercial sphere, and, finally, for the public opinion formation to the art business representatives; dominance in the news field of information highlighted from the favourable perspective for the main players of the art market, which satisfies their interests in their own promotion and contributes to their hegemony in the art space. This situation is caused, among others, by the lack of financial independence of the art criticism in Kyiv and it lack of demand at the national art market.

Research on Artificial Intelligence Interaction in Computer-Aided Arts and Crafts

Background. With the continuous maturity of computer software and hardware technology, the theory and method of computer-aided art design have developed rapidly. Objective. Applying artificial intelligence theory to computer-aided process art design is one of the newly developed research hotspots, and it is also the development trend of industrial design modernization. Methods. On the one hand, it can transplant the research results in the field of artificial intelligence into computer-aided art design, and on the other hand, it expands the application field of artificial intelligence, so that the two can be perfectly combined to promote common development. Results. With the development of artificial intelligence technology, computer art has gradually become a very active field, and a large number of computer art works are available every year. Conclusions. This paper briefly describes the basic concepts of computer-aided art design and artificial intelligence and discusses the application of artificial intelligence in computer-aided art design.

A PERFORMANCE ART AS AN INTERACTIVE ACTION TOOL

When considered as an artistic process, art questions the art problematism of the audience in the place of consumer, where the boundaries between art and real life are blurred, and the connection between them through the work of art. Art forms the precursors of fictions where the distant and uncertain relationship between the work and the audience is centered on mutual communication with new artistic approaches as an intervener/participant in artistic practice. In the first quarter of the 20th century, it is realized that the audience should be included in the work in order to remove the boundaries in the formative process of the work of art by taking an opposing attitude on the strict boundaries of the artist and the art work. As a matter of fact, the process that started with avantgarde formations in the early 1900s completely changed the nature of the relationship between the art work and the audience with the artistic practices of the 1960s. In the 1990s, the increasingly widespread audience-oriented participatory art practices initiated a period in which the audience was interactively involved in the performance and evolved into relationality with new approaches with active participation. In this direction, while the changing art practices in the historical process of Performance Art have evolved into new trends, placing the audience in a participatory/active position, the formation of relational-oriented new expressions will be examined in the context of relational aesthetics, the roles of artist-art work-audience interaction and new artistic understanding and formations. The idea of “togetherness” realized by participatory art according to the changing roles and practices of the audience creates a state of collective consciousness by providing an environment of socialization. Within the scope of the research, by reviewing the literature, document analysis was used as a data collection technique. In the light of the collected data, the relationality dimension of participatory art practices and the similarities, distinctions, interactions, and connections between concepts and subjects were tried to be clarified between these art formations. As a result of the research, it is seen that performance art provides a multi-disciplinary environment where the audience participates in the artistic production process, interacts and actively participates in contrast to modern art movements. Keywords: Relational art, viewer and participator, performance art, relationality

Technological initiative for the "roadmap” implementation for the bachelors-designers’ creative development in art

The article discusses the possibilities of the pedagogical technologies’ initiative for the creative development of bachelors-designers, the use of the roadmap for the students’ creative potential realization, the possibilities of self-development and self-realization in artistic activity, the process of personality development on a personality-oriented basis, taking into account the formation of the students’ inner world, their motivation and system value relationships, educating and developing the artistic activity’s possibilities. The artistic activity’s functions in the learning process, art as a product of this activity are determined. The conditions for the internal spiritual transformation and harmonization of the student in the creative development context in the artistic activity process are discussed.

Practice of applying visual advertising to Lithuanian contemporary art

Visual advertising has become common part of our daily life in the past few decades. It is not only used for commercial, political or social purposes, but also for the implementation of artistic strategies. Specific constructed artworks, exhibitions and art projects situated in a special/unconventional public spaces (context or semiosphere) are used as a tool to seek more spectators and spread different messages with critical, ironical, social connotations which leads to the deeper communication with spectators. They cannot avoid them because the messages interrupt their minds accidentally passing by the streets and so involve in the active interaction process. Art full of advertising strategies criticises the consumerist society created by advertising, and provokes the subject to take on an active position with respect to raised problems, i.e., it acts in the ideological field of contemporary/postmodern art.