Hasil untuk "History of the arts"

Irina F. Lobasheva, Ekaterina A. Fakhrazieva

The article analyzes the art space of Kazan as one of Russia’s cultural centers through the lens of contemporary exhibition art projects initiated by museums, exhibition halls, and galleries. It addresses both the organization of significant large-scale exhibitions in the 2020s and their scientific and creative aspects, as well as their profound semantic resonance and broad social impact. The publication is accompanied by a historiographical review that focuses on key monographs, scientific articles, online reviews, and interviews related to the historical study of the city’s cultural landmarks and their role in shaping the artistic environment of Kazan. Through selected exhibition projects, the publication reveals a palette of some current collective exhibition projects, as well as exhibitions of individual artists whose art is of particular interest. As a result, these exhibitions identify the priority contemporary themes, the moods of the artists and the audience, the latest approaches to exhibition design, and the main trends and directions in the city’s art scene. It is noted that along with the permanent museum exhibitions of classical examples of visual art, the city successfully creates and develops projects by contemporary artists in various fields. It is this area, its changes and progress, that has particularly interested and attracted the attention of the authors, and as a result of the mutual collaboration between a teacher and a student, this publication has been created. A more detailed and in-depth analysis has been conducted on the following exhibitions: “Noah’s Ark” (2023), which provides a comprehensive analysis of individual works by various artists, and two exhibitions of the “Kazan Time” project. Artists of the 1990s at the Contemporary Art Gallery of the Republic of Tatarstan (2025), featuring the creative individuality of such masters as Evgeny Golubtsov and Oleg Ivanov, and “Our Avant-Garde” at the Benois Wing of the State Russian Museum in St. Petersburg (2025), focusing on the phenomenon of the popularity of the ‘fathers’ of Russian avant-garde. The article raises questions about the future development of visual arts and the role of young artists in the 21st century. The modern development of the Kazan Art School and its role in the formation of Tatarstan’s visual arts are also discussed.

Michał Wenderski

This paper explores the 1948–1949 exhibitions showcasing Polish folk art, initially held in Poland and then sent westwards: to Paris, Brussels, and Amsterdam. They were organised by Polish Communist authorities under the ‘Recovered Territories’ campaign that aimed to assert Poland’s historical and ethnographic ties to its new territories that before World War II had belonged to Germany. This propagandist effort sought to reinforce the post-war European status quo, with the exhibitions in question serving as an important element of the campaign. This case study constitutes therefore one of the earliest manifestations of the East-West Cultural Cold War. Analysing exhibition catalogues, press reviews, and archival documents, this study investigates the extent to which the propagandist objectives were achieved in the West. Additionally, it examines how French, Belgian, and Dutch representatives of the field of culture responded to Communist propaganda and mitigated its effects.

Mochamad Aviandy, Fajar Muhammad Nugraha, Zeffry Alkatiri et al.

The Tabot Festival has been held for centuries in Bengkulu, a province on the west coast of Sumatra, Indonesia. Recently, in 2023, it was made an official national-level event, representing the cultural heritage of Bengkulu. For years, the Keluarga Kerukunan Tabot (KKT, lit. ‘The Tabot Family Association’) has served as the key initiator and organizer, supported by local and provincial governments to preserve and promote the Tabot tradition. Throughout its existence the tradition has been marked by fluctuating dynamics, shaped by competing narratives around Islamic customs, economic interests, and diverse societal perceptions. Since the start of the Reform era in 1998, following the fall of president Suharto’s regime, new discourses have emerged, contesting cultural, religious, and economic elements of the festival. This article examines how Bengkulu’s Tabot tradition, as constructed to a significant extent by the KKT, encompasses various societal dimensions. Using a cultural studies approach, this study, based on field observations and in-depth interviews, reveals the ‘hidden framing’ around the tradition. Based on these interviews with stakeholders of Bengkulu’s Tabot tradition new insights are offered into how this tradition is a site of negotiation between different interest groups; whether political, economic (through the commodification of culture), tourism-related, or religious.

Hisashi Hayakawa

On a centennial timescale, solar activity was quantified based on records of instrumental sunspot observations. This article briefly discusses several aspects of the recent archival investigations of historical sunspot records in the 17th to 18th centuries. This article also reviews the recent updates for the active day fraction and positions of the reported sunspot groups of the Maunder Minimum to show their significance within the observational history. These archival investigations serve as base datasets for reconstructing solar activity.

Vygintas Orlovas

While the cultural phenomenon known as vaporwave is commonly traced back to 2009, its defining characteristics remain a subject of ongoing debate within both popular culture and academic circles. Various perspectives categorize it as a microgenre of electronic music, a meme, an art movement, a critique of capitalism, or even a manifestation of pure aesthetics. As such, vaporwave remains a complex and multifaceted topic for research. In this paper, I explore the influence of post-internet culture on the formation of vaporwave and its aesthetics by analyzing the methods and strategies used to create what is recognized as vaporwave, rather than attempting to label or define it precisely. As a further step in this inquiry, I document an attempt to apply these methods and strategies, resulting in the publication of four music albums. This practice-based approach to analyzing vaporwave through creation and publication helps to better understand some core qualities and aesthetics of this art movement.

Piera Riccio, Georgina Curto, Thomas Hofmann et al.

At a time when the influence of generative Artificial Intelligence on visual arts is a highly debated topic, we raise the attention towards a more subtle phenomenon: the algorithmic censorship of artistic nudity online. We analyze the performance of three "Not-Safe-For-Work'' image classifiers on artistic nudity, and empirically uncover the existence of a gender and a stylistic bias, as well as evident technical limitations, especially when only considering visual information. Hence, we propose a multi-modal zero-shot classification approach that improves artistic nudity classification. From our research, we draw several implications that we hope will inform future research on this topic.

Tao Tang, Hong Liu, Yingxuan You et al.

Although existing video-based 3D human mesh recovery methods have made significant progress, simultaneously estimating human pose and shape from low-resolution image features limits their performance. These image features lack sufficient spatial information about the human body and contain various noises (e.g., background, lighting, and clothing), which often results in inaccurate pose and inconsistent motion. Inspired by the rapid advance in human pose estimation, we discover that compared to image features, skeletons inherently contain accurate human pose and motion. Therefore, we propose a novel semiAnalytical Regressor using disenTangled Skeletal representations for human mesh recovery from videos, called ARTS. Specifically, a skeleton estimation and disentanglement module is proposed to estimate the 3D skeletons from a video and decouple them into disentangled skeletal representations (i.e., joint position, bone length, and human motion). Then, to fully utilize these representations, we introduce a semi-analytical regressor to estimate the parameters of the human mesh model. The regressor consists of three modules: Temporal Inverse Kinematics (TIK), Bone-guided Shape Fitting (BSF), and Motion-Centric Refinement (MCR). TIK utilizes joint position to estimate initial pose parameters and BSF leverages bone length to regress bone-aligned shape parameters. Finally, MCR combines human motion representation with image features to refine the initial human model parameters. Extensive experiments demonstrate that our ARTS surpasses existing state-of-the-art video-based methods in both per-frame accuracy and temporal consistency on popular benchmarks: 3DPW, MPI-INF-3DHP, and Human3.6M. Code is available at https://github.com/TangTao-PKU/ARTS.

Daniel M. Bot, Jan Aerts

Dimensionality reduction algorithms are often used to visualise high-dimensional data. Previously, studies have used prior information to enhance or suppress expected patterns in projections. In this paper, we adapt such techniques for domain knowledge guided interactive exploration. Inspired by Mapper and STAD, we present three types of lens functions for UMAP, a state-of-the-art dimensionality reduction algorithm. Lens functions enable analysts to adapt projections to their questions, revealing otherwise hidden patterns. They filter the modelled connectivity to explore the interaction between manually selected features and the data's structure, creating configurable perspectives each potentially revealing new insights. The effectiveness of the lens functions is demonstrated in two use cases and their computational cost is analysed in a synthetic benchmark. Our implementation is available in an open-source Python package: https://github.com/vda-lab/lensed_umap.

S()fia Braga

Today we find ourselves immersed in digital environments made available by centralised social media platforms on a daily basis. While these platforms did provide users expanded connectivity and visibility, they also confined the same user in an economic system focused on collection and commodification of personal data for profit, and in return used them as resources of free labour. In light of this analysis, is it possible to carry out an artistic practice within centralised social media platforms, therefore take an active part in them, while remaining critically engaged, in the attempt to highlight some of the structural dynamics and problems of these realities? In this paper some fundamental aspects of the aforementioned channels will be discussed through the analysis of selected works and two methods utilised by the author to avoid the culture of interveillance.

D. Carr

Abstract:There can be little doubt, from the enduring contemporary popularity of art galleries and museums, that such visual arts as painting and sculpture are sources of perceptual and emotional satisfaction and pleasure to a large viewing public. Still, given the contemporary unfamiliarity of much of the subject matter of past art and the absence of any clearly comprehensible subject matter in much modern (abstract and other) art, it may be less clear what younger or older viewers might come to learn from their viewing of much or any educational value. This paper first offers an overview of the complex history of development of visual art from past to present in light of the shifting standards of artistic and aesthetic evaluation that have variously guided such development. However, it is argued that, while any educated appreciation of visual art cannot be had without some understanding of such history, it also requires a clear grasp of conceptual relations between the artistic and the aesthetic and of the significant interplay of diverse criteria of evaluation in any and all serious artworks past or present. Given this, visual arts may provide a unique route to educational understanding of the broadest liberal character.

Y. Jeong

To search for sustainable general education, the principles and content aspects of general education need to be reestablished. The former is a matter of securing the identity of general education amid the rapid changes of the times, whereas the latter solves the issue of the inherent educational matter (i.e., what to teach) from a productive perspective. In addition, the historicity of general education should be fully exposed to explain these two tasks. Exposing the historicity of general education refers to finding a future-oriented form of general education by accurately tracing changes in its history rather than adopting the monumental attitude of trying to establish a prototype of general education and reproduce it.The goal of this study is to investigate the conditions and directions of the modern transformation of liberal arts education (LAE) by examining the changes in the general education content due to the internal factor of the differentiation of the academic landscape and the external factor of social changes. More specifically, this study will investigate the elements of the trivium and the quadrivium that can be applied to the current general education curriculum through conceptual and historical approaches to the traditional trivium and quadrivium curriculum of LAE.First, this study will show that LAE encourages free decision-making, realizes universal values and the meaning of emancipation, and realizes freedom while teaching and learning through the conceptual analysis of liberty and arts. This study will also embody the form of LEA, which is effective even in the process of academic differentiation, by emphasizing the importance of understanding arts from the perspective of competence and integrated principles that constitute the arts. Next, this study will demonstrate that the transition of LAE is the history of the creative tension of humanity and scientific character (Wissenschaftlichkeit)―that is, the history of development through mutual, rather than unilateral, stimulation―through a historical review of LAE.In conclusion, this study will present the spirit of the trivium and quadrivium that is effective in the modern context and the trivium and quadrivium curriculum from an integrated perspective. Naturally, for this attempt to have significance as an advanced attempt at the general education level, connections with the following two issues should be considered. One is the issue of how the traditional LAE can be reformed in the current undergraduate educational environment, and the other is the relationship of general education with competency-based education and major education. Considering these connections, this study will search for the possibility of sustainable general education at the content level.

María Carina Moreno Baca

Este texto explora en la historia de las compañías nacional de teatro y sus contextos para buscar considerar su pertinencia en este momento. La investigación se desarrolló a partir de la revisión de libros, documentos, artículos académicos, artículos periodísticos y entrevistas con los responsables de algunas de las iniciativas. El resultado fue la identificación de cuatro hitos: el nacimiento en 1946 con Santiago Ontañón, el paso a la INSAD y a La Cabaña con Armando Robles Godoy y el Teatro Ambulante en 1957, el Teatro Nacional Popular con Alonso Alegría en 1971 y el Teatro Nacional en 1995 con Ruth Escudero. Tras la revisión, se concluyó que, en este momento, no es pertinente ni necesaria una compañía nacional, ya que competiría con la producción local.

Chenxi Ji

Do we really understand how machine classifies art styles? Historically, art is perceived and interpreted by human eyes and there are always controversial discussions over how people identify and understand art. Historians and general public tend to interpret the subject matter of art through the context of history and social factors. Style, however, is different from subject matter. Given the fact that Style does not correspond to the existence of certain objects in the painting and is mainly related to the form and can be correlated with features at different levels.(Ahmed Elgammal et al. 2018), which makes the identification and classification of the characteristics artwork's style and the "transition" - how it flows and evolves - remains as a challenge for both human and machine. In this work, a series of state-of-art neural networks and manifold learning algorithms are explored to unveil this intriguing topic: How does machine capture and interpret the flow of Art History?

Alexander Svitych

Abstract Moral philosophy has been dominated by three traditions: virtue ethics, utilitarianism, and deontology. This paper challenges two common assumptions behind these ethical outlooks: their place of origin (the West) and their location of ethical conduct (the mind). Grounded in the broader comparative philosophical perspective, the paper draws on the Asian martial arts to advance the argument for the ‘moral philosophy of the body’. Asian martial arts can thus be conceived of as a synthesized moral tradition of virtue ethics and deontology, and this synthesis is arrived at through embodied practices rather than rational contemplation.

Xiangyu Chi, G. Belliveau, Beifei Dong

ABSTRACT For the last few decades there has been an increased growth for practice in Educational Drama in China. This pedagogical approach has caught the attention of Chinese language arts educators, who teach Chinese as a first language. Recent research points to how these Chinese language arts educators recognize drama as a positive and effective medium for learning language and literature. By considering and analyzing literature in the field, the authors of this article shed light on ways drama is being introduced in Chinese language arts classrooms in Mainland China, as well as provide insights on its history and challenges.

Kwangsu Kim

Abstract This paper aims to resolve a seeming paradox in Adam Smith’s study of history with regard to inference to the best explanation. In the Wealth of Nations Smith argued the priority of “natural progress” over the model of historical progress as evidenced by many contemporary historians. These two competing exercises in philosophical history raise the previously unexplored question of what are critical tests to justify which model is the best, with Smith’s wide use of scientific realist standards such as seeking for underlying general causality, generality in explanatory and predictive power, and appeal to the arts of persuasion.

Tomasz Dziubecki

The paper discusses two eighteenth-century magnates’ residences, the architecture of which functioned as a political statement, drawing on cultural codes rooted in the ancient tradition and borrowing from the model of Versailles. The palaces of Jan Klemens Branicki (1689–1771) in Białystok and of Eustachy Potocki (1720–1768) in Radzyń were built in the mid-eighteenth century. The analysis of their forms, spatial design and sculptures sheds light on their function as a ceremonial space serving political purposes. Our study focuses on the examination of the entrance gates, façade decoration and the sculptures located in the vestibules, which play a key role in the symbolic structures of the residences, as well as the gardens with their pavilions and sculptures. Together these elements constituted the Gesamtkunstwerk (total work of art) of these magnates dreaming of being elected king.

Marcin Brzezicki

A building’s façade is its main interface with the external environment. Adaptive façade, one recent invention in the façade industry, has the capability to change its behaviour in real-time to respond to internal and/or external parameters, by means of materials, components, and systems. Among these, the adaptive shading and the façade glazing are two components that must fit together. This paper focuses on the spatial relationship between these components. It presents the results of the morphological analysis of façades with adaptive shading systems and the spatial relation between the adaptive shading system and the building’s glass envelope. To characterise this relation, we formulated two measures: depth and distance. The results revealed four types of such relations: (i) the shading elements are located outside the building’s glass envelope, (ii) they are covered by the glass envelope, (iii) they are located between the layers of the glazing façade, and (iv) they represent thin coatings that are flush with the surface of the glass. These results provide important insights into the emergence of new aesthetical trends in architecture, especially given the most recent technologies adopted in façades. In conclusion, we bring empirical evidence that the location of the shading system in relation to the glass envelope of a building is the key morphological feature that determines the extent of spatial transformation of the architectural structure on which such a system is installed.

A. C. Umuhire, J. Uwamahoro, K. Sasikumar Raja et al.

Solar radio type II bursts serve as early indicators of incoming geo-effective space weather events such as coronal mass ejections (CMEs). In order to investigate the origin of high-frequency type II bursts (HF type II bursts), we have identified 51 of them (among 180 type II bursts from SWPC reports) that are observed by ground-based Compound Astronomical Low-cost Low-frequency Instrument for Spectroscopy and Transportable Observatory (CALLISTO) spectrometers and whose upper-frequency cutoff (of either fundamental or harmonic emission) lies in between 150 MHz-450 MHz during 2010-2019. We found that 60% of HF type II bursts, whose upper-frequency cutoff $\geq$ 300 MHz originate from the western longitudes. Further, our study finds a good correlation $\sim $ 0.73 between the average shock speed derived from the radio dynamic spectra and the corresponding speed from CME data. Also, we found that analyzed HF type II bursts are associated with wide and fast CMEs located near the solar disk. In addition, we have analyzed the spatio-temporal characteristics of two of these high-frequency type II bursts and compared the derived from radio observations with those derived from multi-spacecraft CME observations from SOHO/LASCO and STEREO coronagraphs.

Sarwar J. Minar, Abdul Halim

Recent event of ousting Rohingyas from Rakhine State by the Tatmadaw provoked worldwide public-and-academic interest in history and social evolution of the Rohingyas, and this is to what the article is devoted. As the existing literature presents a debate over Who are the Rohingyas?, and How legitimate is their claim over Rakhine State?, the paper reinvestigates the issues using a qualitative research method. Compiling a detailed history, the paper finds that Rohingya community developed through historically complicated processes marked by invasions and counter-invasions. The paper argues many people entered Bengal from Arakan before British brought people into Rakhine state. The Rohingyas believe Rakhine State is their ancestral homeland and they developed a sense of Ethnic Nationalism. Their right over Rakhine State is as significant as other groups. The paper concludes that the UN must pursue solution to the crisis and the government should accept the Rohingyas as it did the land or territory.