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Zeitschriftenartikel zum Thema „Artistic“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 31. Juli 2024

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1

Sunardi. „Sunardi KREASI DAN INOVASI SENI PERTUNJUKAN WAYANG SEBAGAI PENGUATAN PRE-ARTISTIC RESEARCH UNIVERSITY“. PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT 3 (17.02.2021): 5–15. http://dx.doi.org/10.33153/semhas.v3i0.131.

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Tulisan ini bertujuan memaparkan hasil kreasi dan inovasi seni pertunjukan wayang sebagai upaya penguatan pre-artistic research university di Institut Seni Indonesia (ISI) Surakarta. Penelitian artistik menjadi penciri utama ISI Surakarta yang terejawantahkan dalam kegiatan pengajaran, penelitian, dan pengabdian masyarakat. Kreasi dan inovasi seni pertunjukan wayang sebagai bagian dari penelitian artistik perlu dikembangkan secara berkelanjutan. Beberapa persoalan yang dibahas pada tulisan ini: (1) pentingnya roadmap penelitian seni pertunjukan wayang; (2) metode kreasi dan inovasi wayang sebagai salah satu model penelitian artistik; dan (3) hasil-hasil kreasi dan inovasi seni pertunjukan wayang sebagai penguatan pre-artistic research university. Roadmap penelitian wayang didasarkan pada problematika eksistensi wayang mulai menurun sehingga diperlukan kajian dan penciptaan wayang dalam berbagai jenis menuju pengembangan wayang Indonesia. Metode kreasi dan inovasi wayang dilakukan dengan eksplorasi, perancangan, proses kreasi-inovasi, dan presentasi karya seni wayang yang mencirikan metodologi penelitian artistik. Beberapa hasil kreasi dan inovasi meliputi wayang babad nusantara, wayang perjuangan, dan wayang sinema diharapkan menjadi penguat fase pre-artistic research university di ISI Surakarta. Kata kunci: kreasi, inovasi, pertunjukan wayang, penguatan, pre-artistic research university

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2

Wannawattawong, Raksarn, Narong Khamwijit und Emeritus Sakda Pannengpetch. „A STUDY ON ARTISTIC STYLES AND ARTISTISM IN MUSICAL PERFORMANCE“. EUrASEANs: journal on global socio-economic dynamics, Nr. 3(46) (30.05.2024): 447–53. http://dx.doi.org/10.35678/2539-5645.3(46).2024.447-453.

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Musical performance represents a secondary creation of musical works, necessitating performers to possess a high level of artistic cultivation and a deep understanding of the artistic style inherent in the music. Performers must bring unique aesthetic characteristics to their performances. The performer's personality, temperament, and experience, along with the local cultural background, influence the artistic style in musical performance. Therefore, performers must specifically analyze these influencing factors and explore methods of artistic expression in musical performance. By accurately understanding and interpreting musical works, performers can achieve a perfect rendition.

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3

PROKOPCHUK, Inna. „MONTAGE AS A FORM OF ARTISTIC THINKING IN THE WORKS OF UKRAINIAN AVANT-GARDE ARTISTS“. Bulletin of the Lviv University. Series of Arts Studies 199, Nr. 23 (2022): 3–16. http://dx.doi.org/10.30970/vas.23.2022.12188.

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The study aims to highlight the concept of understanding the category of montage as a cultural phenomenon that realizes itself as a formative principle of cultural morphology and represents the artistic embodiment of the worldview and socio-cultural attitudes of modernism. Without pretending to be comprehensive, the research focuses on the artistic and technological universality of montage as a tool of artistic perception and reflection of reality in various types of art of the Ukrainian avant-garde of the first third of the twentieth century. On the basis of scientific works,the author determines the representativeness of montage in its species variants, the carriers of which are artistic works designed from elements with different spatial, temporal, iconographic, and stylistic nature. It is noted that montage in the building of works of art has been used since ancient times, before the appearance of the term itself, one of the main creative techniques and an independent artistic phenomenon it became only in the culture of the twentieth century, in the era of modernism and postmodernism that followed. The author sees further study of montage as one of the meaning-forming principles in the artistic and aesthetic system of postmodernism with a tendency to merge not only different types of art, styles, genres and forms, but also the general intellectualisation of art. The artistic experiments of the Ukrainian avant-garde artists were directly inspired by the birth and spread of cinema, on the one hand, and played a key role in its evolution as a new art form, on the other. The artists’ radical discoveries in the representation of modernity, the peculiarities of the city, and the crowded street gave rise to montage theories based on the principles of counterpointing the frames of the reflected reality. Moreover, the montage language, as an element of artistic thinking of the era, became a leading way of understanding the organization of action in the nature of the new life, and the best artists turned to it in their radical search for new forms and content.

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4

Władyka-Łuczak, Zofia. „Artistic Inspiration: Initiation of an Artistic Communication“. Acta Universitatis Lodziensis. Folia Litteraria Polonica 54, Nr. 3 (30.09.2019): 223–36. http://dx.doi.org/10.18778/1505-9057.54.13.

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The article is an attempt to answer the question: When and why is artistic communication initiated?The analysis which leads to the final conclusion was conducted on the basis of an autoethnographic analysis of the process of creating Pomnik Początków Miasta Łodzi (Monument to the Beginnings of Łódź). Its main element was the search for the border between the pre-creative and the creative states during an artist’s work. The analysis indicated that: “Regardless of whether I am working on a sculpture which was commissioned or a sculpture for myself, the processes of triggering precreative and creative states are similar. I always begin work by collecting the material. I work as constructivists would like me to: I study the elements which refer to various differentiation systems. [...] I am aware of the fact that the expected transition from the pre-creative to the creative state can happen at any moment. Today, after many years, I already know that it is not worth evaluating the gathered material – the triggering of the creative state is going to happen either way.” The core of triggering the creative attitude is the development of the skills for observing the reality which surrounds an artist, and even more importantly: the development of the skills of extracting from it that which we are used to calling inspiration in the whole complex process. The line between the pre-creative and creative states emerges in the moment when an artist decides to transfer a fragment of the reality they noticed to the work of art they are creating. The evaluation of a work of art is a completely different issue, which was omitted in this article.

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5

Jeffery, Brian. „Artistic Dialogue and Artistic Exchange through Movement“. Congress on Research in Dance Conference Proceedings 2012 (2012): 81–84. http://dx.doi.org/10.1017/cor.2012.3.

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This article will narrate the process of working in artistic collaboration utilizing traditional Ghanaian dance forms and Western dance-making methods while incorporating a common artistic thread between the two cultures. Invited to create a new work of choreography for the Ghana Dance Ensemble (GDE), the author as guest artist choreographer explored ways of creating a hybrid dance work that honored the artistic footprint of GDE. The choreographer engaged company members, consisting of both dancers and musicians, in daily rehearsals and dialogue about the artistic process and the aesthetic roots from which each artist was grounded. Compositional structures were explored cross-culturally. Traveling out to several field sites, the choreographer was able to view and participate in sacred ceremony for more grounding and artistic information. From this process, a dialogic space was created in which new meanings were shared between cultures and traditional artistic values re-imagined. Dialogue through conversation was not the only exchange of importance. An additional dialogue was that of dancing bodies viewing each other, adapting and integrating change firmly grounded in each other's originating aesthetic footprint. Equally important was the exchange in a culture where it is inherent that the music sounds the dance and the dance moves the music. Thus the dialogue extended itself where the choreographer tried on new ways of thinking about the sounding body just as GDE integrated the choreographer's approaches and made it their own through their own processes of creative invention.

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Hala, Majlinda, und Nazmi Xhomara. „Didactic-Artistic Tools and Artistic Works Demonstration Contribution to Students’ Artistic Skills Development“. Pedagogika 148, Nr. 4 (07.03.2023): 229–47. http://dx.doi.org/10.15823/p.2022.148.12.

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The goal of the study was to investigate the impact of didactic tools and works demonstration on the artistic skills development. The study found a high positive correlation between didactic-artistic tools and artistic skills development, as well as between artistic works demonstration and artistic skills development. Didactic-artistic tools explain respectively 84.5% and 52.8%; meanwhile, artistic works demonstration explains 92.7% and 79.4% of the variance of artistic skills development.

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Musrikah, Siti. „Pengelolaan Supervisi Artistik Kepala Sekolah Dasar Negeri 1 Selojari Klambu Grobogan“. Jurnal VARIDIKA 28, Nr. 1 (18.09.2016): 51–58. http://dx.doi.org/10.23917/varidika.v28i1.2404.

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This study aimed to describe and analyze the implementation of the artistic supervision of Selojari 1 elementary school and to describe and analyze any obstacles faced in learning supervision artistict. Type of this research research is called qualitative research. The collection of data carried out by means of in depth interviews, observations, and use of documents. Data were analyzed with data reduction, data presentation, and draw conclusions. The result of this research showed that artistic supervision planning in Selojari 1 elementary school is to make an systematic artistic supervision format. Implementation of artistic supervision through classroom visits, observe teaching learning activities and also classroom administration aspec. Supervision carried out periodically. Implementation feedback artistic supervision carried out by the headmaster as supervisor by making a connection humanist, harmonious and appreciate the personal character and talents of teachers.

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8

Bennett, Jory, und Gregory Roscow. „Artistic Beliefs“. Musical Times 133, Nr. 1789 (März 1992): 129. http://dx.doi.org/10.2307/966434.

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9

Beaujon, Danielle. „“Purely Artistic”“. Historical Reflections/Réflexions Historiques 46, Nr. 2 (01.09.2020): 89–109. http://dx.doi.org/10.3167/hrrh.2020.460206.

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Following World War II, French police surveillance in Algeria increasingly focused on the threat of Algerian nationalism and policing theater proved no exception. The police assiduously investigated the contents of plays and the background of performers, seeking to determine whether a performance could be considered “purely artistic.” In cracking down on theater, the police attempted to produce “pro-French” art that could influence Algerian loyalties, a cultural civilizing mission carried out by the unlikely figure of the beat cop. Ultimately, their mission failed. Live performances presented an opportunity for spontaneity and improvisation that revealed the weakness of colonial policing. In this article, I argue that in trying to separate art from politics, the police created an impossibly capacious idea of the political, giving officers justification for inserting themselves into intimate moments of daily life. The personal, the interpersonal, and the artistic became a realm of police intervention.

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Paterson, Susan. „Artistic Insights“. International Journal of the Arts in Society: Annual Review 5, Nr. 2 (2010): 217–22. http://dx.doi.org/10.18848/1833-1866/cgp/v05i02/35831.

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11

Hospers, John. „Artistic Creativity“. Journal of Aesthetics and Art Criticism 43, Nr. 3 (1985): 243. http://dx.doi.org/10.2307/430638.

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12

Detamore-Rodman, Crystal. „Most Artistic“. CFA Institute Magazine 18, Nr. 6 (November 2007): 58–61. http://dx.doi.org/10.2469/cfm.v18.n6.4918.

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13

Scarborough, Troy L. „Artistic Reparations“. Theatre Symposium 29, Nr. 1 (2022): 100–109. http://dx.doi.org/10.1353/tsy.2022.0008.

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14

Seroussi, Julien. „Artistic Investigations“. Critique d’art, Nr. 58 (01.06.2022): 45–55. http://dx.doi.org/10.4000/critiquedart.91738.

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15

Robinson, Jason C. „Artistic Truth“. Symposium 10, Nr. 2 (2006): 611–24. http://dx.doi.org/10.5840/symposium200610236.

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16

Bindman, Lynn. „Artistic merit“. Physiology News, Autumn 2016 (01.09.2016): 8. http://dx.doi.org/10.36866/pn.104.8.

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17

Whitley, Antonia. „Artistic Soldiers“. RUSI Journal 159, Nr. 3 (04.05.2014): 90–93. http://dx.doi.org/10.1080/03071847.2014.928028.

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18

Wood, Hugh, Jelena Hahl-Koch, John C. Crawford, Arnold Schoenberg und Wassily Kandinsky. „Artistic Correspondence“. Musical Times 126, Nr. 1704 (Februar 1985): 94. http://dx.doi.org/10.2307/963472.

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19

Charap, John. „Artistic foresight“. Physics World 13, Nr. 8 (August 2000): 21–22. http://dx.doi.org/10.1088/2058-7058/13/8/24.

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20

Gera, Judit. „Artistic Parallels“. Dutch Crossing 22, Nr. 1 (Juni 1998): 127–38. http://dx.doi.org/10.1080/03096564.1998.11784089.

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21

Falk, Dan. „Artistic influences“. Physics World 27, Nr. 12 (Dezember 2014): 35–36. http://dx.doi.org/10.1088/2058-7058/27/12/39.

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22

Chen, Katherine K. „Artistic Prosumption“. American Behavioral Scientist 56, Nr. 4 (12.12.2011): 570–95. http://dx.doi.org/10.1177/0002764211429362.

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23

&NA;. „Artistic Expressions“. Emergency Medicine News 31 (Oktober 2009): 1. http://dx.doi.org/10.1097/01.eem.0000361893.39674.13.

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24

Nemecek, Sasha. „Artistic Genes“. Scientific American 273, Nr. 1 (Juli 1995): 17. http://dx.doi.org/10.1038/scientificamerican0795-17a.

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25

Felton-Dansky, Miriam. „Artistic Epidemiology“. PAJ: A Journal of Performance and Art 33, Nr. 2 (Mai 2011): 115–19. http://dx.doi.org/10.1162/pajj_r_00045.

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26

III, Ivan H. Mann, und B. Bower. „Artistic License?“ Science News 146, Nr. 3 (16.07.1994): 35. http://dx.doi.org/10.2307/3978451.

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Fenner, David E. W. „Artistic Value“. Journal of Value Inquiry 37, Nr. 4 (2003): 555–63. http://dx.doi.org/10.1023/b:inqu.0000019031.09129.1e.

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MILLS, CLAUDIA. „Artistic Integrity“. Journal of Aesthetics and Art Criticism 76, Nr. 1 (04.02.2018): 9–20. http://dx.doi.org/10.1111/jaac.12413.

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29

Bingham, Ray. „ARTISTIC LICENSE?“ AJN, American Journal of Nursing 106, Nr. 2 (Februar 2006): 15. http://dx.doi.org/10.1097/00000446-200602000-00005.

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DenHoed, Andrea. „Artistic Differences“. Dissent 64, Nr. 3 (2017): 11–15. http://dx.doi.org/10.1353/dss.2017.0065.

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Ciraulo, Dina. „Artistic Presence“. Wide Angle 20, Nr. 1 (1998): 94–98. http://dx.doi.org/10.1353/wan.1998.0010.

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Shakespeare, Tom. „Artistic inheritances“. Lancet 357, Nr. 9267 (Mai 2001): 1541. http://dx.doi.org/10.1016/s0140-6736(00)04655-9.

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Rutkin, Aviva. „Artistic evolution“. New Scientist 223, Nr. 2979 (Juli 2014): 20. http://dx.doi.org/10.1016/s0262-4079(14)61435-4.

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34

Bower, James M. „Artistic Exchange“. Visual Resources 9, Nr. 4 (Januar 1994): 333–34. http://dx.doi.org/10.1080/01973762.1994.9658987.

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35

Clark, Robin. „Artistic differences“. Nature 434, Nr. 7037 (April 2005): 1071. http://dx.doi.org/10.1038/4341071a.

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36

Hamilton, Andy. „Artistic Truth“. Royal Institute of Philosophy Supplement 71 (Oktober 2012): 229–61. http://dx.doi.org/10.1017/s1358246112000185.

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Robinson, Andrew. „Artistic statistics“. Lancet 383, Nr. 9920 (März 2014): 863. http://dx.doi.org/10.1016/s0140-6736(14)60433-5.

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38

HOSPERS, JOHN. „Artistic Creativity“. Journal of Aesthetics and Art Criticism 43, Nr. 3 (01.03.1985): 243–56. http://dx.doi.org/10.1111/1540_6245.jaac43.3.0243.

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Budd. „Artistic Merit“. Journal of Aesthetic Education 48, Nr. 1 (2014): 10. http://dx.doi.org/10.5406/jaesteduc.48.1.0010.

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Whitten, Evelyn, und Sally Monsour. „Critical Years for Artistic Development and Artistic Thinking“. Soundings (Reston, VA) 1, Nr. 3 (April 1988): 14–15. http://dx.doi.org/10.1177/104837138800100306.

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41

Othman, Suheir, Doaa Khalil und Aya Al Jamal. „Mohamed Taha Hussein’s Artistic Works ( Artistic Analitic Study )“. International Design Journal 9, Nr. 1 (01.01.2019): 207–16. http://dx.doi.org/10.21608/idj.2019.84043.

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42

Valachová, Daniela. „Prejavy agresivity vo výtvarnom prejave žiakov mladšieho školského veku“. Studia Scientifica Facultatis Paedagogicae Universitas Catholica Ružomberok 22, Nr. 2 (2023): 83–90. http://dx.doi.org/10.54937/ssf.2023.22.2.83-90.

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The paper is a theoretical study that characterizes the basic features of the artistic representations of young school-age pupil and the aggressive manifestations that can be found and diagnosed in the artistic representations at this age. In addition to general characteristics, we also present specific visual features that may be suggestive of the artist's expressions of aggression. The knowledge of possible manifestations of aggression in artistic expression is of pedagogical value.

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Tresnowati, Idah, Gilang Nuari Panggraita, Mega Widya Putri, Maharani Fatimah Gandasari und Afif Tri Ramadiansyah. „Profil kebugaran jasmani atlet senam artistik pemula usia 6-9 tahun di persani kabupaten Pemalang“. Jorpres (Jurnal Olahraga Prestasi) 17, Nr. 2 (30.09.2021): 171–79. http://dx.doi.org/10.21831/jorpres.v17i2.46017.

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Kebugaran jasmani merupakan salah satu faktor yang dibutuhkan oleh atlet senam artistik untuk melakukan gerakan-gerakan senam dan menjaga performa atlet. Penelitian bertujuan untuk mengetahui gambaran tingkat kebugaran jasmani atlet senam artistik pemula di Persani Kabupaten Pemalang tahun 2020. Metode penelitian menggunakan deskriptif kuantitatif. Subjek yang dikaji adalah semua atlet senam artistik pemula usia 6-9 tahun di Persani Kabupaten Pemalang yang berjumlah 20 atlet. Data diambil menggunakan Tes Kebugaran Jasmani Indonesia untuk kategori usia 6-9 tahun. Hasil penelitian menunjukkan bahwa atlet putra memiliki tingkat kebugaran jasmani kategori baik sekali sebesar 25,0% (2 atlet), kategori baik sebesar 62,5% (5 atlet) dan kategori sedang sebesar 12,5% (1 atlet). Atlet putri memiliki tingkat kebugaran jasmani kategori baik sekali sebesar 7,7% (1 atlet), kategori baik sebesar 30,8% (4 atlet) dan kategori sedang sebanyak 62,5% (8 atlet). Simpulan penelitian menunjukkan bahwa tingkat kebugaran jasmani atlet senam artistik pemula usia 6-9 tahun di Persani Kabupaten Pemalang secara umum termasuk kategori baik. The physical fitness profile of beginner artistic gymnastics athletes aged 6-9 years in persani Pemalang regency AbstractPhysical fitness is one of the factors needed by artistic gymnastics athletes to perform gymnastic movements and maintain athlete performance. The purpose of study was to describe the physical fitness level of beginner artistic gymnastics athletes in Persani, Pemalang Regency 2020. The research method used quantitative descriptive. The subjects studied were all beginner artistic gymnastics athletes aged 6-9 in Persani, Pemalang Regency, totaling 20 athletes. The data were collected using the Indonesian Physical Fitness Test. The results showed that male athletes had a very good physical fitness level of 25.0% (2 athletes), a good category of 62.5% (5 athletes) and a moderate category of 12.5% (1 athlete). Female athletes have a very good physical fitness level of 7.7% (1 athlete), a good category of 30.8% (4 athletes) and a moderate category of 62.5% (8 athletes). The conclusion of the study shows that the physical fitness level of beginner artistic gymnastics athletes aged 6-9 years in Persani, Pemalang Regency is in good categry.

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Xize, Dong, und Wang Jiaxin. „Creative activity of Chinese pianists in world culture“. OOO "Zhurnal "Voprosy Istorii" 2023, Nr. 2-1 (01.02.2023): 248–53. http://dx.doi.org/10.31166/voprosyistorii202302statyi09.

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The factors determining the relevance of this article are: the rapid growth of the Chinese piano school and its high artistic achievements in the last decades of the 20th - early 21st century; the presence and recognition of a significant artistic contribution (performing, pedagogical, composing) made by the outstanding pianist Liu Shikun to the development of the modern Chinese piano school; insufficient study and scientific understanding of the artist's artistic experience in the context of the formation and development of the Chinese piano school.

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Mykula, Erika, und Nataliia Levkovych. „The evolution of the imaginative and plastic concept of creativity by V. Prykhodko in the context of socio-cultural transformations of the second half of the 1980s to the 2000s“. Bulletin of Lviv National Academy of Arts, Nr. 51 (10.10.2023): 63–73. http://dx.doi.org/10.37131/2524-0943-2023-51-7.

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The exploration of Vyacheslav Prykhodko's creative legacy within the context of regional and national artistic processes from the second half of the 20th to the early 21st century prompts the identification of leading artistic tendencies and the analysis of the master's creative issues. This study aims to uncover aspects of the dialogue with tradition that reveal the distinctiveness and representativeness of the artist's oeuvre. In the period of 1980-2000, V. Prykhodko's creative work witnessed the formation of an authorial imaginative and plastic concept characterized by the elevation of ordinary phenomena and processes to symbols and metaphors of life. It involved a departure from naturalistic-mimetic approaches to a transition towards generalized-conditional, imaginative-symbolic perception and reproduction. The construction of artistic imagery was guided by the principles of harmony as an aesthetic category and the foundation of worldview. This concept entailed the fusion of the rationality of the creative method and the structural integrity of pictorial representation with poeticism, color expression, and the dynamics of planes, lines, and shapes. Factors contributing to V. Prykhodko's creative evolution included the vibrant artistic life of Uzhhorod and informal creative communication, as well as his passion for music, theater, world literature, and exposure to information about global artistic trends. The artist's stylistic exploration was significantly influenced by modernist elements in Transcarpathian visual arts synergized with the decorative aspects of folk artistic traditions. Within the realm of Transcarpathian painting, V. Prykhodko's work belongs to the "innovative pole" of Transcarpathian visual arts and its "experimental direction," alongside other representatives such as E. Kremnytska, F. Seman, and P. Bedzir. A distinctive feature of the artist's body of work within this direction is the strong foundation of academic art education and the assertion of his creative independence through the exclusive selection of expressive means and the stylistic approach in his works.

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Marxen, Eva. „Artistic Practices and the Artistic Dispositif – A Critical Review“. Antípoda. Revista de Antropología y Arqueología, Nr. 33 (Oktober 2018): 37–60. http://dx.doi.org/10.7440/antipoda33.2018.03.

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47

Martiniello, Marco. „Artistic separation versus artistic mixing in European multicultural cities“. Identities 21, Nr. 1 (03.12.2013): 1–9. http://dx.doi.org/10.1080/1070289x.2013.845099.

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Mohammed Elabed Yaseen, Eman. „"Najaf" an Iranian Artistic Family - An Archeological Artistic Study“. International Journal of Advanced Studies in World Archaeology 5, Nr. 2 (01.12.2022): 306–31. http://dx.doi.org/10.21608/ijaswa.2022.266221.

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49

Kayumov, Abduvakhob. „Artistic Image And Nationality“. American Journal of Social Science and Education Innovations 03, Nr. 04 (30.04.2021): 252–57. http://dx.doi.org/10.37547/tajssei/volume03issue04-38.

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Annotation:

The article explores the national features of Paulo Coelho's The Alchemist and Isajon Sultan's The Free. The course of events and philosophy of both works are close to each other. The dream-goal of the protagonists is given in a similar way to the images of the journey process. Therefore, the symbolic meanings in the images, in the way of expression of ideas, in the materials that reveal the subject, in some artistic details are analyzed from a national point of view. In this work, the role and importance of the novels "Alchemist" and "Free" in the education of a harmoniously developed person is revealed. Also, the artistic skills and unique styles of the writers were studied.

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50

Marinov Dinev, Nikolay. „Artistic Achievements of Artistically Gifted Children: Artefacts of Artistic Development from Early Childhood to Artistic Maturity“. Open Journal for Studies in Arts 2, Nr. 1 (13.07.2019): 1–14. http://dx.doi.org/10.32591/coas.ojsa.0201.01001d.

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