LANDSCAPE, COLORED PASSION IN THE CREATION OF ARCHITECT EUGEN BOGNIBOV

The landscape genre is painting and contemplation through the creation of the architect and professor, doctor of architecture, associate professor Eugen Bognibov, from the Department of Architecture, Faculty of Urbanism and Architecture, Technical University of Moldova. The landscape was certainly one of the favorite types of painting of professional artists, but also for lovers of beauty. The predilection of the architect and painter Eugen Bognibov for the landscape genre can be explained by the fact that the Moldovan lands offer an enormous variety of views and possibilities to practice the landscape: reliefs, forested hills, hills, steppes, roads winding through vineyards, and orchards, cities and villages, water pools, architectural monuments of stone and wood, a true cultural heritage of the country. And the author remarks that the painting dedicated to the architect and professor Eugen Bognibov represents the state of lyricism and harmony, is the link between man and nature, which is distinguished by the colorful freshness of urban, rural, forest landscapes, etc. Various painted views of the historical area of his hometown, Chisinau, images of the morning city bathed in the rays of the generous sun or landscapes near the village of Butuceni, etc. Therefore, the motivation for painting and landscape became for the architect Eugen Bognibov, a free manifestation of his creation through paintings with saturated colors, works presented in various exhibitions

Event Travel Careers of Singaporean Artists and Producers: An Arts-Informed Life History Approach

<p>Artists and producers engage in event tourism in the course of their leisure and work but existing research on event tourism has placed emphasis on the event audience rather than artists and producers at events. An event travel career is developed when a person travels to participate in events ranging from local to regional and international scale. Getz and Andersson (2010) event travel career trajectory (ETCT) has been used to study serious amateur sport athletes and yoga devotees, looking at motivations, changing travel styles, spatial and temporal patterns, event and destination choices and their competing priorities as constraints to travel. However, participants in the arts world have not yet been identified as serious event tourists. Further, the event travel career progression of artists and producers in the performing arts world has yet to be established to determine their purpose, and frequency of travel at each stage of their career. This study aims to investigate how amateur and professional artists and producers develop their event travel career using the ETCT to examine the factors that constrain or facilitate their event travel career, the extent to which artists and producers conceptualize themselves as serious event tourists, and the role open access and other events play in the ETCT. A social constructionist paradigm is adopted with the use of an arts-informed life history approach to gather and interpret the stories of 19 Singaporean artists and producers representing three generations. The participants are well known to the researcher who performed the role of both the insider (member of Singapore arts community) and the outsider (PhD researcher) in this study. The arts-informed method involved creative inquiries (memory maps, drawings, and symbolic items) to invite participants to construct their ETCT visually over three research meetings. Pamphilon’s (1999) zoom model was adapted to analyze and interpret the stories in three parts: individually; against the participants’ cohort; and as part of the macro environment. The findings shed new light on the foundational stage of event travel career; the constraints, facilitators and motivations to travel; and social world events and destinations as key drivers in the development of an event travel career. The findings also revealed higher travel activity by the semi-professional and professional artists and producers in the arts, unlike the amateurs in sport tourism. This study contributes to the field of theory by developing an integrative framework of event travel careers, that incorporates Unruh’s social world theory and Stebbins’ serious leisure career perspective to examine and trace the event travel career development of serious event travellers. The study suggests that artists and producers are serious event travellers who start as hobbyists or leisurists before they develop their event travel career as semi-professionals and professionals. This study also contributes a different context in the study of ETCT by focusing on the development of Singapore’s arts scene, through the ETCTs of her artists and producers as amateurs, semi-professionals, and professionals – a move from the Western context found in extant research on event travel careers. Further, this study contributes methodologically to the development of the use of the arts-informed life history approach with Pamphilon’s (1999) zoom model, to enable a more holistic and structured analysis of the individuals’ stories, and the macro-environment of Singapore. The arts-informed life history research approach provides fruitful ground for future research in event travel career and should be repeated. It is capable of eliciting information about the past beyond the principal topic to inform the present.</p>

Event Travel Careers of Singaporean Artists and Producers: An Arts-Informed Life History Approach

<p>Artists and producers engage in event tourism in the course of their leisure and work but existing research on event tourism has placed emphasis on the event audience rather than artists and producers at events. An event travel career is developed when a person travels to participate in events ranging from local to regional and international scale. Getz and Andersson (2010) event travel career trajectory (ETCT) has been used to study serious amateur sport athletes and yoga devotees, looking at motivations, changing travel styles, spatial and temporal patterns, event and destination choices and their competing priorities as constraints to travel. However, participants in the arts world have not yet been identified as serious event tourists. Further, the event travel career progression of artists and producers in the performing arts world has yet to be established to determine their purpose, and frequency of travel at each stage of their career. This study aims to investigate how amateur and professional artists and producers develop their event travel career using the ETCT to examine the factors that constrain or facilitate their event travel career, the extent to which artists and producers conceptualize themselves as serious event tourists, and the role open access and other events play in the ETCT. A social constructionist paradigm is adopted with the use of an arts-informed life history approach to gather and interpret the stories of 19 Singaporean artists and producers representing three generations. The participants are well known to the researcher who performed the role of both the insider (member of Singapore arts community) and the outsider (PhD researcher) in this study. The arts-informed method involved creative inquiries (memory maps, drawings, and symbolic items) to invite participants to construct their ETCT visually over three research meetings. Pamphilon’s (1999) zoom model was adapted to analyze and interpret the stories in three parts: individually; against the participants’ cohort; and as part of the macro environment. The findings shed new light on the foundational stage of event travel career; the constraints, facilitators and motivations to travel; and social world events and destinations as key drivers in the development of an event travel career. The findings also revealed higher travel activity by the semi-professional and professional artists and producers in the arts, unlike the amateurs in sport tourism. This study contributes to the field of theory by developing an integrative framework of event travel careers, that incorporates Unruh’s social world theory and Stebbins’ serious leisure career perspective to examine and trace the event travel career development of serious event travellers. The study suggests that artists and producers are serious event travellers who start as hobbyists or leisurists before they develop their event travel career as semi-professionals and professionals. This study also contributes a different context in the study of ETCT by focusing on the development of Singapore’s arts scene, through the ETCTs of her artists and producers as amateurs, semi-professionals, and professionals – a move from the Western context found in extant research on event travel careers. Further, this study contributes methodologically to the development of the use of the arts-informed life history approach with Pamphilon’s (1999) zoom model, to enable a more holistic and structured analysis of the individuals’ stories, and the macro-environment of Singapore. The arts-informed life history research approach provides fruitful ground for future research in event travel career and should be repeated. It is capable of eliciting information about the past beyond the principal topic to inform the present.</p>

Content of the concept of “ethnic painting”: articulation of the problem

This article analyzes the concept of &ldquo;ethnic painting&rdquo;, Russian and Western sources on the topic, as well as controversial approaches towards its interpretation. It is established that the Russian science avoids using the concept of &ldquo;ethnic painting&rdquo; to ambiguity of its content. The most commonly concepts in sphere are &ldquo;national art&rdquo;, &ldquo;ethnocultural manifestations&rdquo;, &ldquo;territorial-ethnic nature of painting&rdquo;, &ldquo;national peculiarities&rdquo;, and &ldquo;national distinctness of art schools&rdquo;. In Western literature, the concept of &ldquo;ethnic painting&rdquo; is attributed to both, folk art and professional art. Parallel is drawn between the concept of &ldquo;national culture&rdquo; and &ldquo;ethnic culture&rdquo;. The research is based on the painting of Circassians (Adyghe) of Russia and Turkey. Using the methods of comparative studies, comparative typology and art analysis, the article explores the works of contemporary Circassian painters of Turkey and Russia, revealing the specificity and universal characteristics of their paintings. The works of professional artists, which meet certain characteristics, should be referred to as &ldquo;ethnic painting&rdquo;. The author describes the key attributes and functions of plastic arts that allow classifying it as the concept of &ldquo;ethnic&rdquo;: 1) figurative characteristics (visualization of mythological and epic heroes and plotlines, ritual and common culture); 2) translation of ethnic mental characteristics and values; 3) design of ethnic identity and solidarity by means of painting; 4) introduction the art of painting not only to the elite, but other social classes as well; 5) usage of public instruments for proliferation and popularization of painting through education and enlightenment; 6) comprehension of ethnic art as a crucial element of national art; 7) development of ethnic art through various contaminants (ethnocultural content and modernist form or technique; modern content in the traditional genre or form).

Stars inside have reached outside: The effects of electronic dance music DJs’ social standing and musical identity on track success

The social standing of an artist provides a reliable proxy for the value of the artist’s product and reduces uncertainty about the quality of the product. While there are several different types of social standing, we focus on reputation among professional artists within the same genre, as they are best able to identify the artistic value of a product within that genre. To reveal the underlying means of attaining high social standing within the professional group, we examined two quantifiable properties that are closely associated with social standing, musical identity and the social position of the artist. We analyzed the playlist data of electronic dance music DJ/producers, DJs who also compose their own music. We crawled 98,332 tracks from 3,164 playlists by 815 DJs, who played at nine notable international music festivals. Information from the DJs’ tracks, including genre, beats per minute, and musical keys, was used to quantify musical identity, and playlists were transformed into network data to measure social positions among the DJs. We found that DJs with a distinct genre identity as well as network positions combining brokerage and cohesion tend to place higher in success and social standing.

ARTificial intelligence raters: Neural networks for rating pictorial expression

Previous studies on classification of fine art show that features of paintings can be captured and categorized using machine learning approaches. This progress can also benefit art psychology by facilitating data collection on artworks without the need to recruit experts as raters. In this study a machine learning approach is used to predict the ratings of RizbA, a Rating instrument for two-dimensional pictorial works. Based on a pre-trained model, the algorithm was fine-tuned via transfer learning on 886 pictorial works by contemporary professional artists and non-professionals. As quality criterion, artificial intelligence raters (ART) are compared with generic raters (GR) created from the real human expert raters, using error rate and mean squared error (MSE). ART ratings have been found to have the same error range as randomly chosen human ratings. Therefore, they can be seen as equivalent to real human expert raters for almost all items in RizbA. Further training with more data will close the gap to the human raters on all items.

Fabricating future bodies: making digital sexualities research matter

PurposeThis paper critically examines the development and direction of the Fabricating Future Bodies (FFB) Workshop. Troubling notions of co-production as enacting equality or empowering participants, it draws on feminist posthuman and new materialist concepts to understand it as an eventful process that occurs in unpredictable and shifting affect-laden assemblages.Design/methodology/approachThe FFB Workshop formed part of the final phase of my Economic and Social Research Council (ESRC) funded doctoral study, titled “Exploring young people's digital sexual cultures through creative, visual and arts-based methods”. With additional support from Wales' Doctoral Training Partnership, the workshop provided sixteen young people (aged 11–13 years) from one fieldwork school with the opportunity to work with two professional artists in order to creatively re-animate research findings on the digitally networked body. In a three-hour workshop, participants produced cut-up texts and life-size body fabrics that re-imagined what bodies might do, be and become in the future.FindingsThis paper finds that co-productive practices cannot flatten out the institutional and societal power dynamics operating within schools, highlighting how adult intervention was necessary to hold space for young people to participate. It also observes the agency of the art materials employed in the workshop in enabling young people to articulate what mattered to them about the digitally networked body. While the workshop was limited in its ability to renegotiate institutional and peer power dynamics, it produced rich data that indicated how carefully choreographed arts-based practices offer generative possibilities for digital sexualities research and education.Originality/valueBy employing speculative fiction, cut-up poetry and textiles to explore the digitally networked body, this paper outlines an innovative methodological-pedagogical approach to engaging with young people's digitally networked lives.

TRADITIONAL CRAFTS OF DAGESTAN AND RESEARCH INSTITUTE OF ART INDUSTRY

The article considers the history of relations of traditional art crafts of Dagestan with the Research Institute of Art Industry (RIAI). Due to its budgetary and personnel capabilities, the Institute tried to support the art crafts of Dagestan until the late 1980s. Since 1979, the Mahachkalinsky branch of RIAI has been working here. Artists, scientific employees of the Institute helped masters in search of prospective assortment for crafts, taught them skills to study the history of crafts, revival of traditions. The most significant role in such cooperation was played by scientific employees of the Institute: E. M. Shilling, E. M. Kilchevskaya, T. M. Razin, D. A. Chirkov, etc. Important for the crafts of the region was the assistance of the artists of the Institute in the execution of samples for introduction into serial production, the production of exhibits for All-Russian and international exhibitions, orders of state institutions and museums related to celebrations in the country of various anniversary. This practice was common for art artels, state mills of the Soviet time. Working with the artists of RIAI masters of Dagestan learned to draw up (drawings with pencil, Indian ink), compositions of patterns, to drafts of products, and also to collect field material on historical culture of crafts, to work as professional artists of applied art.

Disciplining the Sciences in Conflict Zones: Pre-Classical Mechanics between the Sovereign State and the Reformed Catholic Religion

Traditionally, the early modern period is characterized by a process whereby religion, politics, and science are gradually separated into independent cultural spheres. This account conceives of the process of modernity in terms of ‘total conflicts’ between abstract institutions (‘the state’, the ‘Church’, ‘science’), stemming from the demand for freedom of each of these institutions to determine their own norms of behaviour and thought within their own boundaries. The account I offer, in contrast, emphasizes the centrality of the rise of ‘sovereign’ states enhancing the creation of specific networks of interdependencies between rulers, the carriers of religion, and professional artists and scientists. However, interdependence also entailed ‘conflict zones’, where boundary work between political, religious, and scientific discourses was carried out.

BANDURIST CAPELLA “THE SUN” OF I. P. KOTLYAREVSKY KhNUA: DEVELOPMENT AND SPECIFICS OF EVOLUTION (for the 20th anniversary of the artistic life of the capella and the 50th anniversary of its leader Nadezhda Melnik)Background. The present of the national

Background. The present of the national musical culture is characterized by a kind of synthesis between imitation of the original folk-instrumental traditions with the latest ideological models and performing means. The art of bandura players also occupies a proper place in the development of academic folk instruments of Ukraine. A prominent place in the diversity of ensemble groups of large forms is occupied by the bandura band “Sun” of Kharkiv I. P. Kotlyarevsky National University of Arts, whose artistic director and conductor is a famous and talented bandura player, senior lecturer at the Department of Folk Instruments of Ukraine, Kharkiv National University of Arts Nadiya Melnik. The band has a unique performance portrait, relatively long creative path and its own genre and style specifics of development. Today the band is the only large educational bandura ensemble in Kharkiv, which presents the performing traditions of Sloboda Ukraine but, unfortunately, in the musicological discourse there are no studies on the creative activity of this artistic association, analysis of development specifics and its role in the development of bandura performance of Ukraine, which determines the relevance of the article. Many scholars such as: L. Yashchenko, V. Umanets, R. Kiyanovska, A.Ivanysh, T. Cherneta and others studied the development, the stages of formation and the specifics of activities of large bandura groups in Ukraine. The main attention of musicologists and bandura practitioners is devoted to the activities of powerful and leading large ensembles and bandura groups. Among them there are National Honored Bandura Band of Ukraine named after G. I. Mayboroda, bandura choir “Magician” of the Dnipro Academy of Music named after M. Glinka, bandura choir “Lyubava” of Poltava College of Arts named after M. V. Lysenko and others. However, the study of the creative activity of the bandura band “Sun” of Kharkiv I. P. Kotlyarevsky National University of Arts under the direction of N. V. Melnyk, which today has a strong potential and vividly represents the bandura performance not only of Kharkiv, but of Ukraine as a whole remains unnoticed. The purpose and objectives of the article are to highlight the main stages of formation and specifics of the creative activity of the bandore band “Sun” as a bright representative of modern bandura performance in Kharkov. To achieve this goal, the following tasks must be completed: – to identify the main stages of development of the bandura band “Sun”; – to analyze the performance and repertoire of the bandura band “Sun”; – to determine the specifics of the development of creative activity of the bandura band “Sun”. Methods. To achieve this goal and solve the main tasks of the article, the method of artistic and scientific research was used. Results. Basing on the method of art research, it was found that at the present stage the band is the only large group that represents the bandura performance not only of Kharkiv but also in the Sloboda region. Significant events in the artistic life of the participants are marked, which characterize the main milestones in the history of formation and development of the band: the period of the band, the first state recognition of bandura conductors as a professional artists, creation of a bandore band for the first time, winning the laureate title (I place at the all-Ukrainian competition which is called “Ring, bandura” (Dnepropetrovsk, 2004)). The synthesis of traditional performance forms with modern elements of music, combination of vocal and instrumental material and dramatization, melodic recitation, artistic experiments etc. is characteristic for the work of the artistic team. Conclusions. Summarizing all what is written above, we can say that the bandura band “Sun” is a powerful highly professional team with its own performance and drama approach, genre and style features and specific development features: combination of vocal-instrumental material and theatrical performance, melodic, etc. The high appreciation of the bandura players’ creative activity by the leading musicologists of Ukraine and the popularity of the famous artistic group testifies to its recognition in the musicological circle and among the fans of bandura performance in Kharkiv and in Ukraine as a whole.