Painting Education & Artistic Evolution

AbstractArt is the most effective way of expressing human emotions. It should also be an excellent application of traditional or technological tools. In our presentation-research we will be focusing on painting, painting education and advanced artistic evolution process in terms of traditional application domains. An immortal painting-masterpiece should be the competent example of an excellent composition and also a perfect example of application. Preparation of painting tubes, choice of pertinent and correct brushes, preparations of palette etc. are all the basic stuffs which provides to create an accomplished painting. An intensive professional experience of painting materials should unfortunately provides a certain maturity. But in art schools or academies during and after the basic art education, an intensive basic painting education is inevitably required in order to provide solid art styles in next academic and professional periods. The purpose of our research is to clarify some educational methods of applications crafts in painting. The first important process is the circumstantiation of all materials and tools and their pertinent uses. After preparing the application stuff and choosing correct materials, the students will be processing on painting application. As a result by the correct methods which require dedicated preparation of palette and all stuffs would supply a very enjoyable working time and also it provides a dominant property in order to create artistic expressions. This essential working discipline acquired by the academic painting education prevents also the lost of time and motivation which could easily indispose us from painting applications. So isn’t it effectual in any domain? Isn’t the solidity of the achievement is measured by its pre-educational sub construction

Architecturally Artistic Metal of City Ivano-frankivsk(stanislaviv), End of 19th-beginning of 20th Century

In this article we consider a theme concerning the evolution of metal decoration in architecture of the town Ivano-Frankivsk (Stanislaviv), dated XIX - early XX century, this question was analyzed in line with European architectural and artistic trends of that time. Style trends and compositional features were detected through the example of certain types of metal-plastic in the architecture of the town. Special attention was paid to finding ways to preserve valuable historical examples of architectural-artistic metal, which are exposed to destruction. Ancient metal-plastic, which impresses us by the mastery of far-back blacksmiths, adorns most historic buildings in Ivano-Frankivsk (Stanislaviv). It was formed, at each stage of its development, in line with European architectural-artistic trends and reproduces the content of these processes by typological, compositional, stylistic, iconographic, formal features, together with production technique and manufacturing technology. The metal-plastic being a valuable architectural-artistic heritage of XIX - early XX century, which defines the direction of urban modern forging art development, nowadays is exposed to destruction. Undervaluation and low level of research work, concerning Ivano-Frankivsk historic metal-plastic as a cultural heritage object, become one of the reasons that community and some experts do not consider it as an object that influenced the formation of the architectural urban space image and still continues to influence its evolution

Algorithms as scores: coding live music

The author discusses live coding as a new path in the evolution of the musical score. Live-coding practice accentu- ates the score, and whilst it is the perfect vehicle for the performance of algorithmic music it also transforms the compositional process itself into a live event. As a continuation of 20th-century artistic developments of the musical score, live-coding systems often embrace graphical elements and language syntaxes foreign to standard programming languages. The author presents live coding as a highly technologized artistic practice, shedding light on how non-linearity, play and generativity will become prominent in future creative media productions

Set Free the Artistic Energy of Lodz! The Evolution of the Urban Forms Foundation

The text discusses the complex characteristics of the activities of the Urban Forms Foundation, its goals, methods and areas of activity as well as recent challenges

Of Shining Sea and Rising Sun: cultural storytelling in the genre of horror in video games

In the modern era, video games are hardly the simple, mindless medium that they used to be. Rather, they are now being used as a vehicle for artistic expression and storytelling worldwide, creating a colorful and comprehensive new approach to the storytelling experience that was previously reserved for books or movies. The immersive nature of the medium provides for a richer and more stimulating experience, from which the genre of horror greatly benefits. Rather than the more passive experience the viewer gets from watching a movie or reading a book, video games allow for the player to be completely immersed, experiencing the story rather than just witnessing it. This general aspect combined with the opportunity for unique artistic expression and storytelling, provides for a better overall horror experience. Within the horror genre, there are two schools of storytelling: the Eastern Style (primarily from Japan and countries in the Far East), and the Western Style (particularly the United States). These styles are both unique with their approaches to the genre, begging the question: what do different cultures find scary? Through careful analysis of the Eastern and Western styles, we can understand the characteristics and unique components, identifying the reasoning behind them. An examination of broader social implications in the areas of religion, history, and psychology, will expand the scope of the digital media studies, providing a greater understanding of the continued evolution of human storytelling. The evolution and future possibilities of storytelling are explored in this study by examining the techniques and implications specific to these two identified schools within the horror genre of video games.https://scholarscompass.vcu.edu/uresposters/1243/thumbnail.jp

Pigment analysis by Raman microscopy and portable X-ray fluorescence (pXRF) of thirteenth to fourteenth century illuminations and cuttings from Bologna

Non-destructive pigment analysis by Raman microscopy (RM) and portable X-ray fluorescence (pXRF) has been carried out on some Bolognese illuminations and cuttings chosen to represent the beginnings, evolution and height of Bolognese illuminated manuscript production. Dating to the thirteenth and fourteenth centuries and held in a private collection, the study provides evidence for the pigments generally used in this period. The results, which are compared with those obtained for other north Italian artwork, show the developments in usage of artistic materials and technique. Also addressed in this study is an examination of the respective roles of RM and pXRF analysis in this area of technical art history

The Ukrainian Neorealism: Evolution of Scientific and Artistic Discourse

У дисертації досліджено художню систему українського неореалізму, який розглядається як течія модернізму, котра актуалізує реалістичний тип творчості. Обґрунтовується правомірність розгляду прозової творчості письменників «Ланки» як зразка неореалізму. На матеріалі художніх творів представників цієї літературної групи розкривається їхня поетично-стильова техніка і художній світ неореалізму. Зокрема, звуженість часопростору, психологізм, затінений наратор, гносеологічний та ідеологічний тип побудови оповіді трактуються як естетичні домінанти неореалізму. На підставі порівняння його художніх моделей та інших проявів реалістичного типу творчості в українській літературі ХХ ст. доводиться, що розвиток цієї течії модернізму було штучно перервано у 1930-х роках і його вплив на вітчизняну літературу лишився знач-ною мірою нереалізованим.В диссертации исследована художественная система украинского нео-реализма, который трактуется как течение модернизма, актуализирующее реалистический тип творчества. Обосновывается правомерность рассматривать прозаическое творчество писателей «Ланки» как образец неореализма. На материале художественных произведений этой литературной группы раскрывается их поэтично-стилевая техника и художественный мир неореализма. В частности, суженный хронотоп, психологизм, затененный нарратор, гносеологический и идеологический тип построения повествования трактуются как эстетические доминанты неореализма. На основании сравнения художественных моделей неореализма и других проявлений реалистического типа творчества в ХХ ст. доказывается, что развитие украинского неореализма было искусственно прервано в 1930-х годах и его влияние на отечественную литературу осталось в значительной мере не реализованным.The thesis deals with the system of artistic principles of Ukrainian neorealism as a result of the interaction of the realistic type of writing with modernism. It has been demonstrated that despite certain tradition of home literary criticism to regard neorealism as the crisis of realism or its continuation in the 20th century, more rightful is to designate by this term the modernism movement which actualizes the realistic type of writing. Consequently main modernistic concepts become dependant upon epistemological principle: sensationalism, subjectivism, irrationality of modern man yield to artistic cognition that leans upon the last scientific achievements.. This feature makes neorealism, probably the only current of modernism that keeps determinism first of all biological (psychological) one although its position becomes weaker with the movement development. Also the epistemological principle determines analyticity as the structural element of poetics. Neorealism as a post-impressionistic movement refused to represent the world as the sum of the disconnected fragments, having passed from this merological approach to the holistic one requiring phenomena consideration as processes, but not as states, as dynamic groups but not as isolated elements. At the same time it should be mentioned that lyricimpressionistic manner overcome by the neorealists paved the way for new epicism concentrated on the inner world of the character that became the refraction prism for review at the objective world. Mentioned principles defined the features of the neorealism artistic world: «narrow», often chamber space, where an introverted character can be concentrated on experiencing of crisis time. The structure of the last is mainly binary: the past (which is characterized by permanent moral values) and the present (disorganized and dehumanized), but the future only now and then arises in apocalyptic visions of atonement. Though life of characters is determined by concrete historical events, attention is concentrated not on them, but on private life of the character, offering a psychological, but not social and historical view to revolution. To a great extent neorealism is urbanistic, demonstrating the different methods of presentation of a town that shows the neorealists’ fight for symbolic space of the nation. The updating of psychological model is most important in the character representation: under the influence of psycho-analysis neorealists try to investigate artistically not only consciousness of the character but also his subconscious, and so, broaden the scope of psychological methods. The сrises times caused such features of the character determination as gender, class and nation. The neorealists demonstrate breaking (or anachronism) of patriarchal norms, that provides freedom of choice; class apostasy and declassing; unstable identity and «intercultural cooperation» that arises as a result of metropolis influence on the colonized space. The peculiarities of neorealism technique are determined by aspiration to represent the subjective picture of reality. Therefore narrator focalizing the character covert narrator becomes the aesthetic choice of neorealists. The told story mediating extends space for interpretation and makes it possible to take the ideological point of view away the borders of narration that breaks habit of the uncritical reading. Thecovert narrator’s story creates the illusion of the direct action flowing. It forms the readers’ persuasion that the broached problems and represented situations are not settled, their influence is lasting. The epistemological principle determines prevailing of gnosiological and ideological principles of narration method and at that time mythological principle often becomes an auxiliary one. That is neorealism does not aim at events development showing, but concentrates attention on individual vision of situations, intensifying subjectivity of the world picture or (in case of ideological type of narration) offers to the reader to comprehend some life regularities. As a result psychological novella and short story, intellectual and psychological story, intellectual novel and bildungsroman have become a basis of the neorealism genre system. In the literary process of the 1920th neorealism was contrasted to romantic of vitaism that leaned against the antagonistic type of literary works. Being formed in works by V.Vynnychenko, neorealism brightly showed up in works by “Lanka” prose writers, but its development was by force interrupted in the 1930th. The revealed system of principles substantially differs from the bases of the 19th century realism and can not be considered as its modification. At the same time the presence of some texts oriented to the aesthetic system of realism in the 20th century literature does not allow us to consider neorealism to be a movement that unites the manifestations of the realistic beginning in the literature of the mentioned period. And although some novellas by B. Antonenko-Davydovych can be considered as a relict phenomenon in the second half of the 20th century the influence of neorealism on the development of Ukrainian literature remained unrealized

History of art paintings through the lens of entropy and complexity

Art is the ultimate expression of human creativity that is deeply influenced by the philosophy and culture of the corresponding historical epoch. The quantitative analysis of art is therefore essential for better understanding human cultural evolution. Here we present a large-scale quantitative analysis of almost 140 thousand paintings, spanning nearly a millennium of art history. Based on the local spatial patterns in the images of these paintings, we estimate the permutation entropy and the statistical complexity of each painting. These measures map the degree of visual order of artworks into a scale of order-disorder and simplicity-complexity that locally reflects qualitative categories proposed by art historians. The dynamical behavior of these measures reveals a clear temporal evolution of art, marked by transitions that agree with the main historical periods of art. Our research shows that different artistic styles have a distinct average degree of entropy and complexity, thus allowing a hierarchical organization and clustering of styles according to these metrics. We have further verified that the identified groups correspond well with the textual content used to qualitatively describe the styles, and that the employed complexity-entropy measures can be used for an effective classification of artworks.Comment: 10 two-column pages, 5 figures; accepted for publication in PNAS [supplementary information available at http://www.pnas.org/highwire/filestream/824089/field_highwire_adjunct_files/0/pnas.1800083115.sapp.pdf

Role model (in) advertising?

The article concentrates on analysing the growing interest of academics in studying advertisements. While arguing why this perspective of reading literature may bring interesting critical results, the article focuses mainly on the character of Anna Csillag and its evolution through the twentieth century. Originally Anna Csillag was created as an advertising strategy to be used in selling hairgrowth cream. Boasting beautiful hair, the character grew in popularity across Europe, turning into a public icon of the first half of the twentieth century. Anna Csillag appears as a fictional character in Bruno Schultz’s story Księga (The Book). The article also traces other references to this figure in the twentieth and twenty-first century literary and artistic works