Protection of Non-Traditional Trademarks in China

The paper attempts to investigate the issue of the protection of non-traditional trademarks in the People’s Republic of China that is ranked first in the number of registered trademarks in the world. The author analyzes the national legislation on the registration of trademarks that permits the registration of such types of non-traditional trademarks as sound, color combination and a three-dimensional designation, as well as judicial practice on appealing decisions of the National Trademark Office of China to refuse registration of three-dimensional, color and sound trademarks. The author determines the criteria for the protection of non-traditional trademarks, analyzes their application to each type of such marks. The paper highlights the main problems of registration of non-traditional trademarks in China. A conclusion is drawn about the need to improve legal, including international, regulation to stabilize and simplify the protection of non-traditional trademarks in the world.

THE IMPORTANCE OF AESTHETIC ELEMENTS IN THE ART OF CINEMA AN ASSESSMENT ON

Besides being an art, cinema also reveals the existence of a linguistic ability. In this way, with a flexible and dynamic narrative structure that turns changed so as to maintain its coherence, which can create endless imaginative narratives and present these narratives that provide a structure which allows the viewer. Cinema is quite close to the appearance in life, and the illusion of reality is an inalienable attribute of it. Reality is sometimes used as a whole, sometimes a part of it is reflected on the screens. At the core of the language of cinema lies the visual perception of the world in which people live. The concept of aesthetics is essential to understanding the ways in which contemporary and popular culture interacts with cinema. Light, sound, color and movement elements are involved in providing visual communication. Color, one of the most important elements of visual design in the cinema industry, is at the heart of the narrative world created by cinema. Basically there is no color, there is light. The element of color can be said to be an aesthetic transformation of reality or a directed, interpreted sense of reality. Every image in the cinema is accepted as a sign as the carrier of the filmic image. In addition to this, cinema is a visual art, as well as an auditory art. Cinema, which was considered as an art before sound, has undergone a structural change with the introduction of sound. Cinema aesthetics is a special aesthetic area established with cinematography and dealing with beauty. For this reason, the aim of the study is to reveal the importance of aesthetic elements for the art of cinema. In addition, the basic aesthetic elements in the art of cinema are discussed in detail and it is tried to explain why aesthetic elements are important for the art of cinema. Keywords: Cinema Art, Aesthetics, Lighting, Color, Image, Sound.

Los Qualia y la Experiencia de la Consciencia en el Arte

Our life would be surrounded by a universal property called qualia that would constitute the everyday qualities of existence that would encompass among other things our sensations, perceptions, feelings and intuitions so that we would experience the world in the form of qualia such as light, sound, color, the shape or texture. These qualities would give cohesion to our senses and would have an important role in the art world to be closely linked to our subjective world.In this article we will see how our consciousness would create reality manifesting itself in art through various perceptual experiences related to a qualia network where introspection, intuition, imagination, and creativity would also enter into a more subtle plane. The qualia would help the artist to project himself into everything he would experience, not only in the act of observing but also in the same artistic processes where emotions would be translated into symbols that would enhance our evolution, as the next leap we would make would have to do with our consciousness.

Multi-Sensory Color Expression with Sound and Temperature in Visual Arts Appreciation for People with Visual Impairment

For years the HCI community’s research has been focused on the hearing and sight senses. However, in recent times, there has been an increased interest in using other types of senses, such as smell or touch. Moreover, this has been accompanied with growing research related to sensory substitution techniques and multi-sensory systems. Similarly, contemporary art has also been influenced by this trend and the number of artists interested in creating novel multi-sensory works of art has increased substantially. As a result, the opportunities for visually impaired people to experience artworks in different ways are also expanding. In spite of all this, the research focusing on multimodal systems for experiencing visual arts is not large and user tests comparing different modalities and senses, particularly in the field of art, are insufficient. This paper attempts to design a multi-sensory mapping to convey color to visually impaired people employing musical sounds and temperature cues. Through user tests and surveys with a total of 18 participants, we show that this multi-sensory system is properly designed to allow the user to distinguish and experience a total of 24 colors. The tests consist of several semantic correlational adjective-based surveys for comparing the different modalities to find out the best way to express colors through musical sounds and temperature cues based on previously well-established sound-color and temperature-color coding algorithms. In addition, the resulting final algorithm is also tested with 12 more users.

Vyacheslav Koleichuk as the Engine of the Russian Kinetic Art. Imaginary dialogue at the exhibition

The State Tretyakov Gallery hosts a significant exhibition “Laboratory of the Future. Kinetic Art in Russia”. Its significance, the influence of the artistic phenomenon of kinetic art itself on domestic art of the 20th and 21st centuries has not yet been fully determined. The exhibition emphasizes kinetic art as one of the central national trends in experimental artistic creativity of the 20th century, even as some kind of a tradition. On the one hand, the exhibition would have been impossible without the participation of the creators of the Russian avant-garde, the founders of abstract art, the creators of the first abstract sculptures and dynamic structures: V. V. Kandinsky, K.S. Malevich, El Lissitzky, V. E. Tatlin, A. M. .Rodchenko. On the other hand, recognized masters, inventors of kinetic art in the USSR in the 1960s and 1970s, creators of the synthetic works of art combining the sound, color, form, images and motion are also important: Lev Nusberg’s “Group Movement” in Moscow and “KB Prometheus” under the leadership of Bulat Galeev in Kazan, the first kinetic construction at the USSR Exhibition of Economic Achievements Francisco Infante and the dynamic installation “Atom” by Vyacheslav Koleichuk, experiments with electronic sound and acoustics of the Experimental Studio of Electronic Music of Evgeny Murzin, the Theremen Center, created by Andrei Smirnov, space projects by Vyacheslav Loktev installations with light and sound in Leningrad by August Lanin 1. One of the key figures in this artistic process was the architect, designer, researcher, inventor, constructor and teacher Vyacheslav Fomich Koleichuk (1941–2018). This imaginary dialogue is covering some of the inventions of the artist, developing the traditions of Russian kinetic art, expanding the artistic space of modern design and architecture 2.

Scriabin’s Synesthesia, Demystified

This article examines the latest materials related to Scriabin’s synesthesia, that is, his associations between sounds (tonal areas) and colors. This is often referred to as color-hearing, sound-color and tone-color associations in the literature. Scriabin’s biographer Leonid Sabaneyev was the first to discuss the matter, in his publication “O zvuko-tsvetovom sootvetstvii” [On sound-color correlation] (1911, Moscow). Since then, other more reliable sources have emerged, including Scriabin’s own color indications penned directly on the score of his Prometheus Op. 60, housed in the Bibliothèque Nationale in Paris and not widely-accessible. This article also attempts to debunk some of the myths related to Scriabin’s sound-color associations and presents the emerging scholarly perspective on the subject.

Gallipoli poet N.V. Stanyukovich’s collection “From the ashes”: image-motive structure

We consider the structure of unrenowned poetry collection “From the ashes” (1929) by undeservedly forgotten Gallipoli poet N.V. Stanyukovich. The relevance of the study is due to the need to address little-known phenomenon of the Russian literature abroad – writers’ creative activity in the Gallipoli camp of the Russian Army of Baron P.N. Wrangel in 1920–1921. The purpose of the study is to examine the features of image-motive structure of the collection “From the ashes” by N.V. Stanyukovich. Based on the use of biographical, structural-typological, cultural-historical approaches, we analyze the image-motive dominants of the collection “From the ashes”, which include the motives of war, death, life, fate, homesickness, hearts, creativity, images of the steppe, graves , war horse, train station, etc. We pay attention on the fact how N.V. Stanyukovich uses sound, color, compositional, rhythmic techniques in his works, which testifies to the maturity of the writer’s creative manner. We suggest that the Gallipoli sitting became the most tragic page in N.V. Stanyukovich’s life, despite the fact that it contributed to the beginning of his creative career. After the collection “From the ashes”, poet avoids Gallipoli theme, although military problems remain relevant.

The latest approaches to piano interpretation in chamber and ensemble creativity of V. Silvestrov (the case of the "Drama" cycle for violin, cello and piano)

The article overviews a set of issues related to the latest interpretation of the piano in the second half of the XXth century, the use of non-specific techniques of playing the instrument and the peculiarities of its use in the chamber ensemble. It describes the main elaboration direction of compositional methods and techniques, their objectification in the ensemble work of Ukrainian artists. V. Silvestrov's "Drama" for violin, cello and piano is analyzed as a unique example of synthesis of traditional and avant-garde tendencies in the music of the XXth century, which combines music making with elements of instrumental theater. The article outlines main parameters, notes the stylistic and timbre diversity of the work. The compositional methods and techniques used in the trio are considered, including sonorism, aleatory, pointillism, happening. The role of the prepared piano at sound color is established, and other sound, noise and stage effects in creation of a sound image of a composition. The significance of the latest sound formation principles laid down in the work, the urgency and influence of the author's innovations on modern chamber music are revealed. The proposed analysis should contribute to a fuller understanding of avant-garde trends and their manifestation in chamber music of the second half of the XXth century and a wider introduction of V. Silvestrov's works to the chamber and ensemble repertoire of modern performers.

Synesthesia and the Color-light Keyboards

The invention of a color-light keyboard combines the scientific and artistic domains in the performing arts. Based on the sound-color correspondence, the design of the color-light keyboard indicates a certain sound or a specific harmony in association with a particular color, shape, or colorful pattern. The correlation between visual image and sound is partially associated with the concept of synesthesia, refers tothe neurological condition of sensory fusionthat often appears in the musical composition. This study will investigate the revolution and development of the color-light keyboard in history, as well as the synesthetic perspectives concerning the originality and innovations of color-light keyboards made by different scholars.It will aim to explore the significanceof synesthetic behaviors in contemporary music performance presented bythe color-light keyboards, which pioneers the multimedia application in the performance.