Academic literature on the topic 'Art, Modern 21st century Psychological aspects'

The author analyzes the monograph “Utopian discourse in Russian culture of the late 19th – 21st century. Literature. Painting. Cinema”. The review determines the position of this book in modern science of projective models of the future. A key aspect is the continuity of previous studies on the category of utopia, and above all, B. F. Egorov, whose memory the book is dedicated to. The transition of modern art beyond the utopian genre is noticed. This confirms the appropriateness of the discursive technique. The author emphasizes the relevance of the traditional conversation about environmental problems and expresses bewilderment at the disregard by Western philologists of Russian fiction and scientific literature. As an unquestionable advantage of the monograph, its modern anthropological approach to the psychological details of private narrative utopias is noted.

Exhibition activity in Ukraine is becoming important. Exhibitions as a factor of scientific, technical and cultural progress in modern conditions contribute improving the efficiency and quality of production, the development of economic relations and international cooperation. The object of the article is to define the concept of exhibition design as a particular aspect of art-design activity, its role and functions in the information and communication space of the modern design culture of Ukraine. The problem of exhibition design is relevant in modern art history. Researchers suppose that at a certain stage people began to use objects and the environment as tools to satisfy an instinctive impulse to discover, emphasize, deify, sell and interpret elements of their own experience. Such «communication environment» considered as a creative sphere, or exhibition design. In the conditions of technical progress, the incorporation of elements of aesthetics into production gradually began to cover all production areas. The role of exhibition design in the organization of modern exposition is to create, in combination with communication room design, an environment that would provide the most profound and complete transmission of information, help to attract the audience and increase the intensity of understanding. The functions of exhibition design are: educational, cognitive, axiological, psychological, aesthetic, communicative, etc. Exhibition design in the 21st century both in the world and in Ukraine is characterized by the use of innovative technologies, which contribute to the expansion of the information field of the exposition and the disclosure of its main idea.

Introduction. The problem of identifying the role of contemporary art thesauri in the teaching profession development has become aggravated in the context of global socio-economic changes, apparently irreversible after the COVID-19 pandemic. Contemporary art, actively exploring the reality of the digital age, makes it possible to comprehend the essence of the new in education, clearly see the ideal of a person who is in demand by the society of the 2020s, and choose a way to overcome the crisis of the teaching profession, which is no longer limited by the framework of person-to-person duality but is fundamentally open due to technology. The research purpose is to generalize scientific ideas for the study of contemporary art thesauri as a tool for developing the teaching profession in the cultural-educational space of the 21st century. The research methodology includes the thesaurus, interdisciplinary and integrated approaches; identification and systematization of units of knowledge about contemporary art through thesauri influencing the development of the profession of a teacher. The use of a thesaurus approach made it possible to identify and systematize units of knowledge about contemporary art and its educational opportunities that coincide in one way or another. An interdisciplinary approach showed the mechanism of integrating disciplines studied by future teachers with the space of modern artistic culture. An integrated approach was used to view contemporary art as a hierarchical system of a high degree of complexity in specific historical and psychological aspects. The research results contain a generalized description of the process of integrating contemporary art into education: the transition from a teacher’s professionalism to transprofessionalism through the introduction into the widespread practice of approaches that have resulted from the activities of representatives of creative professions; increasing the significance of a teacher as an organizer of cultural activities in the context of distance learning, with the emergence of new professional roles; the formation of concepts reflecting the commonality of thinking of a teacher and an author of artworks. Findings. Contemporary art thesauri help pedagogical education get to a higher level due to a new understanding of the profession of a teacher: as developing from professionalism to transprofessionalism through the assimilation of knowledge about the formation of a professional in the art sphere (“alien” becomes “own”), focused on organizing students’ cultural activities using distance technologies and new professional roles, explaining itself in terms of pedagogy and art. The field of application of research findings is the improvement of educational programs at all education levels (from the preschool establishment to university) in accordance with the requirements of state standards.

The article deals with the problem of the competence approach in education. The article is based on careful analysis of the scientific literature and highlights the concept of “life-creating competence”. The necessity and expediency of such competence forming in the future special education teacher result from the practice of living in an open information society, where the individual is required to show a new level of abilities that could ensure his/her effective functioning in any dynamic changes and circumstances, successful and comprehensive life both in personal and professional spheres. The article analyzes the subject matter of the life creation concept in philosophical, psychological and pedagogical aspects. A review of the scientific literature demonstrated that in philosophical and sociological discourse life-creation is mainly considered in the perspective of one’s own life building and culture of life creation, and it made it possible to highlight the following points: life-creation is a process based on two constitutive components: life and creativity; these components are purely individual; life creation depends on both personal characteristics and social factors; the individual must be in some way ready to carry out life creativity; thus, consequently, life-giving competence can be an indicator of readiness for life-creation. It was found that psychology studied the problem of life creation most thoroughly; psychologists present life creation as a manifestation of the subject’s personality, an active attitude to life, the result of self-development, a special type of life, etc. The author found that the life of an individual is one of the key phenomena in the philosophy of education, where it is considered in terms of the activity approach: it is a special kind of life, creative activity of the individual, life-creation, the art of living. One of the determining factors of life creation is education. In terms of pedagogy, the study of life creation of an individual at the beginning of the 21st century has grown into a separate area – the pedagogy of life, which formed the basis of the concept of the New Ukrainian School. It was found that the phenomenon of “life-creating competence” in pedagogy is not considered as a separate achievement of an individual, but there is “life-creating competences”, represented as a component of life competence of that individual. Based on the analytical review, the author summarizes that life competence provides the solution of vital tasks, productive life, the ability to perform certain life roles; life-creating competence, according to the author, brings an individual to a higher level of life, at which a person realizes self-design, selfconstruction, self-education and other self-practices; it is an active, creative and responsible subject of his/ her own life and social development, as he/she is able not only to adapt to dynamic circumstances, but also to change the environment for the benefit of him/herself and others, which is crucial for special education teachers in the light of modern educational paradigm.

Introduction. The widespread use of percussion instruments is a worldwide trend in artistic practice of the 20th – early 21st centuries, whose existence is due to the constant development of composer creativity and the performing art of percussion instruments playing. The named vectors of musical activity are linked inextricably, since one direction contributes to the development of another. Nevertheless, there are not still fundamental scientific works would investigate the evolution of wind instruments from the beginnings to the present in the designated context of the interaction between composer and performing arts. The questions remain open: why, over time, composers were more and more attracted to the sound images of percussion instruments? How did the formation of sound images of percussions take place and what tendencies can be distinguished in this process in connection with the development of various musical styles and genres, as well as with individual, unique composer ideas? What works contributed to the evolution of percussion instruments? The aim of the proposed research is an attempt to examine, in the context of evolutionary processes, the practice of the modern use of percussion instruments in composing and performing art. In addition to questions of their direct use in the works of composers, the sound image of percussions is considered, which can be reproduced with the help of articulation and other techniques on various instruments (piano, strings, harp, guitar etc.). Literature review and methodology of the research. This research in a factual aspect based on the works of G. Blagodatov (1969) and A. Kars (1989). However, percussion instruments are not the subject of special consideration in the works of these authors. In addition, we note that the methodological approach of the named researchers is opposite to the proposed analytical model. G. Blagodatov and A. Kars examine evolutionary processes in the history of a symphony orchestra and orchestration. However, they highlight the typical, not the special and unique, while is this interest that determines the specifics of our research. The historical and cultural approach that takes into account the historical experience of both musical and other types of art helps to “decode” the unique composer ideas. The historical and genetic research method is used when considering evolutionary processes and searching for features of historical continuity in the interpretation of sound images of percussion instruments. Findings. Modern interest in percussion instruments in the practice of playing music is associated with a new interpretation of the means of musical expression in compositions of the 20th – early 21st centuries. The reason for this interest should be sought in the correspondence of the sound image of the percussions to certain characteristics of the “picture of the world”, which develops in the work of artists throughout the XX–XXI centuries, a time of rapid total changes, when the “shock” and rigid “rhythm” become the symbols of the time, requiring, in turn, psychological relaxation and detachment. Accordingly, two main trends in the embodiment of percussion sound images formed. The first is associated with the emancipation of the rhythmic principle up to its complete liberation from the melodic one (the appearance in musical works of independent themerhythms, of expanded rhythmic structures, semantically significant rhythmic ostinatі, solo percussion instruments, in particular, in the works of the concert genre). The second is sonorous-coloristiс, revealing the wide timbre possibilities of percussion instruments, involving, among other things, exotic, archaic, atypical author’s methods of sound production, untempered sounds. In the 20 century, composers tried to free music from the power of even tempered tuning (for example, when using microtonal music in creative experiments carried out by A. Hába, Ch. Ives, I. Wyschnegradsky) and percussion instruments, by their nature, fit this tendency. Going beyond the limits of even tempered tuning concerns both pitch organization and concentration on timbre colors, sonorism. The second of the tendencies, in our opinion, responds to the hedonistic preferences of the listeners, and also corresponds to the widespread aesthetic concept of the naturalness of artistic creativity, where percussion appears as the most suitable instrument for reproducing natural biorhythms of the Universe and a Human in musical rhythms. The semantic content of percussion sound images demonstrates multidimensionality and poly-variety, up to opposite expressive meanings. Features of the use of percussion in musical works of the XX–XXI centuries are often determined by a unique composer intention, which performers and researchers should decode based on the cultural and historical experience of musical art. For example, the sound image of bells, which clearly reveals the sonor-color qualities of the percussiveness, acquires different semantic meanings depending on the author’s concept. It is possible to use sound images of percussion instruments from the standpoint of symbolism. Historical, in particular, national origins can also affect the interpretation of sound images of percussion instruments. Continuity and evolutionary changes are demonstrated by examples from the practice of using timpani, which for centuries were part of a symphony orchestra, and in the XX–XXI centuries became participants in a joint game and even soloists in different performing groups. The main section of the manuscript gives examples of all directions in the interpretation of sound images of percussion instruments. Conclusion. So, the proposed complex analytical model, taking into account the historical, national, evolutionary factors in the interpretation of sound images of percussion, which differs in different eras, seems promising, making it possible to trace the continuity in the new and the features of the cultural dialogue arising one way or another in the “big time” (M. Bakhtin) of art.

For researchers, early childhood educators, and art educators, the contribution of this article is to expand meaning in drawing activities. Perspective in reading pictures using visual culture theory, especially visual grammar. This study aims to share knowledge and experiences in reading early childhood pictures from different perspectives. This research method uses a qualitative descriptive approach through visual material data collection techniques and analysis of three metafunctions. The objects of research are three pictures of children aged 7-8 years, namely the works of winners of the I-III children's painting competition held by PP-IPTEK TMII in 2018. Aspects of the representation structure, interaction system, and composition of each image are analyzed. The research findings conclude that the ideational function of the three images shows a narrative structure of representation and raises the discourse of resistance to the actual situation. The interpersonal function of the three images places the image maker in the real world and as an object of display impersonally. The textual functions of the three images position social life on other planets as a reflection of hope for real social life.Keywords: children's drawings, visual culture, visual system, three metafunctions References: Butler, S., Gross, J., & Hayne, H. (1995). The Effect of Drawing on Memory Performance in Young Children. Developmental Psychology, 12. https://doi.org/10.1037/0012-1649.31.4.597 Creswell, J. W. (2015). Educational research: Planning, conducting, and evaluating quantitative and qualitative research (Fifth edition). Pearson. de Lautour, N. (2020). The Visual Arts and Children’s Thinking and Theorising in Early Childhood. Www.Elp.Co. Nz/Articles, 13. Driessnack, M., & Furukawa, R. (2012). Arts-based data collection techniques used in child research. Journal for Specialists in Pediatric Nursing, 17(1), 3–9. https://doi.org/10.1111/j.1744-6155.2011.00304.x Elliot W, E., & D. Day, M. (2004). Handbook of Research and Policy in Art Education (1st Edition). Routledge. Everts, H., & Withers, R. (2006). A Practitioner Survey of Interactive Drawing Therapy as Used in New Zealand. 16. Freedman, K. J., & Stuhr, P. L. (2004). Curriculum Change for the 21st Century: Visual Culture in Art Education. Funch, B. S. (1996). The aesthetic experience as a transcendent phenomenon. Nordisk Psykologi, 48(4), 266–278. https://doi.org/10.1080/00291463.1996.11863884 Gernhardt, A., Rübeling, H., & Keller, H. (2013). “This Is My Family”: Differences in Children’s Family Drawings Across Cultures. Journal of Cross-Cultural Psychology, 44(7), 1166–1183. https://doi.org/10.1177/0022022113478658 Hirsh-Pasek, K., Zosh, J. M., Golinkoff, R. M., Gray, J. H., Robb, M. B., & Kaufman, J. (2015). Putting Education in “Educational” Apps: Lessons from the Science of Learning. Psychological Science in the Public Interest, 16(1), 3–34. https://doi.org/10.1177/1529100615569721 Hwang, G.-J., Lai, C.-L., & Wang, S.-Y. (2015). Seamless flipped learning: A mobile technology-enhanced flipped classroom with effective learning strategies. Journal of Computers in Education, 2(4), 449–473. https://doi.org/10.1007/s40692-015-0043-0 Jolley, R. P. (2009). Children and Pictures: Drawing and Understanding. Wiley. https://books.google.co.id/books?id=QpGS9s9zqMoC Kellogg, R. (1973). Misunderstanding Children’s Art. Art Education, 26(6), 7–9. https://doi.org/10.1080/00043125.1973.11652137 Knight, L. (2008). Communication and Transformation through Collaboration: Rethinking Drawing Activities in Early Childhood. Contemporary Issues in Early Childhood, 9(4), 306–316. https://doi.org/10.2304/ciec.2008.9.4.306 Kress, G. R., van Leeuwen, T., & Van Leeuwen, D. H. S. S. T. (1996). Reading Images: The Grammar of Visual Design. Routledge. https://books.google.co.id/books?id=vh07i06q-9AC Kucirkova, N. (2017). IRPD—A framework for guiding design-based research for iPad apps. British Journal of Educational Technology, 48(2), 598–610. https://doi.org/10.1111/bjet.12389 Lowenfeld, V. (1949). Creative and Mental Growth. Macmillan. https://books.google.co.id/books?id=x7tRAQAAMAAJ Mamur, N. (2012). The Effect of Modern Visual Culture on Children’s Drawings. Procedia - Social and Behavioral Sciences, 47, 277–283. https://doi.org/10.1016/j.sbspro.2012.06.651 Moerdisuroso, I. (2017). Social Semiotics and Visual Grammar: A Contemporary Approach to Visual Text Research. International Journal of Creative and Arts Studies, 1(1), 80. https://doi.org/10.24821/ijcas.v1i1.1574 Nielsen, A. M. (2012). Forskeres arbejde med oplevelser af børns tegninger som forskningsmetode [The researcher’s work with children’s experiences of drawing as a research method]. Psyke & Logos. Papadakis, S., & Kalogianakis, M. (2020). A Research Synthesis of the Real Value of Self-Proclaimed Mobile Educational Applications for Young Children. In Mobile Learning Applications in Early Childhood Education (pp. 1–19). IGI Global. https://doi.org/10.4018/978-1-7998-1486-3.ch001 Quaglia, R., Longobardi, C., Iotti, N. O., & Prino, L. E. (2015). A new theory on children’s drawings: Analyzing the role of emotion and movement in graphical development. Infant Behavior and Development, 39, 81–91. https://doi.org/10.1016/j.infbeh.2015.02.009 Santrock, J. W. (2011). Educational Psychology. McGraw-Hill Medical Publishing. https://books.google.co.id/books?id=M8S4kgEACAAJ Vygotski, L. S. (2004). Imagination and Creativity in Childhood. Journal of Russian & East European Psychology, 42(1), 7–97. https://doi.org/10.1080/10610405.2004.11059210

In the provisions of the scientific article, the author substantiates the worldview and philosophical perception of jazz dance in the cultural and artistic space of the historical period of the 20th century – early 21st century in the context of the development of modern choreographic art. As a result of the study, an expansion of ideas about the philosophy of choreographic art is formed, which is reflected in the formation of the perception of modern dance in modern science. Also, in defining the worldview of jazz dance in the artistic space, which manifests itself at all stages of its development and becomes relevant in the art criticism discourse of the late 20th - early 21st centuries, it is a logical conclusion that jazz dance has a meaningful philosophical content and tries to give answers to eternal questions. , as well as everyday problems: how not to lose everything, and if this happened, then restore strength, and restore yourself anew, how to find love, and when found, how not to get rid of it, solve all the problems of a domestic nature and the spiritual life of everyone person. Jazz dance has always been a mirror image of a person's existence, his worldview and manifestation of will, striving for originality and revealing his own individuality. The dance movement of jazz dance is always a hymn in honor of human life in its manifestations and depths of all aspects of human existence, which is clearly manifested in the dance art. One of the main philosophical properties of jazz dance is the ability to quickly and thoroughly respond to all socio-political and historical processes of society development. Reflection of cataclysms, crises and pertrubation of economic development filigree reflects the tragedy of wars and emotions, its completion from victory to defeat. It is constantly developing, forming new samples, directions and whole self-sufficient types and directions of modern dance art.

The article deals with the value-semantic, communicative and cultural aspects of the phenomenon of the art fair being defined as a space for updating the works of contemporary artists and the exchange of ideas and senses, considering historical preconditions for appearing of the art fair. It analyzes art fairs as the most various level of the modern stage of art market development. Based on Art Basel study, it identifies substantial changes of contemporary art fairs which contributed to the formation of a new model of the art market at the beginning of the 21st century. The new role acquired by the art market due to its unifying nature has been noted. The author reviews the cultural specifics of art exhibitions, galleries, the value of art works, the formation of artistic tastes of people as well. The importance of studying and considering of the art fairs for understanding of the new model of art market development is substantiated. The article outlines perspective directions of further culturological research of the art market and art fairs. The performed analysis of the international art fair Art Basel shows the approval of the fair model of the art market due to the globalization processes, the formation of a new leisure culture and the need for a new way of art actualization.

Accounting as a practical activity was being developed during millennia but the final forming of accounting science is impossible without the development of its modern theory, which is correspondent to the requirements of scientific doctrines of the 21st century. The existing theory, in many cases, is not good at all and, in general, it is the set of technical approaches of realization of double record. The results of economic investigations of the world level show the impossibility of modern accounting science to fulfill its functions because of its conservative character and it was not changed during many years. All these investigations have a direct impact on economy and show that the understanding of the basic postulates changes and the stress is made on psychological and social aspects and avoiding of material ruling.

The 21^st century is undoubtedly a period of enormous progress in the field of digital technology, a period in which the boundary between the real world and the virtual world becomes less and less visible. The Internet has undeniably become a facilitation of everyday life, since it is a tool of work, communication or a way to spend free time for many users. The virtual world is present in almost all areas of our lives, and people spend more and more time in front of the computer screens, operating websites, e-mails or social networks. Highly developed digital technology is a boon of the 21st century, but despite its numerous advantages, negative aspects are also visible. Virtual knowledge displaces physical interpersonal contacts; physical activity is replaced by spending free time in front of a computer monitor. Various threats (social, psychological, psychological, ethical and moral) resulting from modern digital technologies and the increasing degree of dependence on them are extremely significant. The authors of this article present the results of own research, aiming at making the reader aware that there are both positive and negative aspects of the virtual world.

This visual arts based research explores the autonomous process of mark-making from the unconscious for the sake of expressing inner turmoil that comes with ‘Living in the Shadow of Death series’ (2014). The manner by which emotions are, in a sense, naturally released in automatic drawing and painting underpin the basis of this research as part of the development of an expressive visual language. ‘Living in the Shadow of Death’ is definitively concerned with how an emotional predisposition, a severe case of unconscious aggression due to struggles with the illness of Marfan Syndrome comes to the surface naturally and is expressed visually. Essentially, this research aims to answer the main research question: How might the act of drawing convey the power and complexity of emotion through the exploration of autonomous mark-making with unconventional tools, mediums and methodologies? This research inquiry rests upon three important benefactors and influences: Illness, anatomy and unconventional tools. What is discussed is an interdisciplinary regime of theoretical and practical research into Surrealist Automatism and a progressive development of this methodology formed from the perspective and approach of a Marfan Syndrome sufferer. The research includes an analysis of Automatism in the works and practice of artists Roberto Matta, Joan Miro and Andre Masson and their influence on the working methods of Jackson Pollock. To this end, the contribution made by Jungian therapy to Pollock’s Action Painting technique and experimentation with unconventional methodologies is explored. Furthermore, the practice-led analysis and documentation of information gained on Surrealist Automatism aided development of working procedures and how this guided the creation of a body of works entitled ‘Living in the Shadow of Death’ is discussed. Ultimately, the content of this research expands the discourse on what constitutes drawing tools, media and format, and how suffering from Marfan Syndrome extended and amplified the expressive potential of Surrealist Automatism and Action Painting exemplified in the development of an innovative methodology known as ‘Anatomical Automatism’.

Scenario House, a gallery based installation, is comprised of a room constructed as a ???family room??? within a domestic space, a television with a looped video work and a sound componant played through a 5.1 sound system. The paper is intended to give my work context in relation to the processes leading up to its completion. This is achieved through clarification of the basis for the installation including previous socio-political discourses within my art practice. It then focuses on ways that the installation Scenario House is based on gun practice facilities such as the Valhalla Shooting Club. Further it gives an explanation of the actual production, in context with other art practices. It was found that distinctions between ???war as a game??? and the actual event are being lost within ???simulation revenge scenarios??? where the borders distinguishing gaming violence, television violence and revenge scenarios are increasingly indefinable. War can then be viewed a spectacle where the actual event is lost in a simplified simulation. Scenario House as installation allows audience immersion through sound spatialisation and physical devices. Sound is achieved by design of a 5.1 system played through a domestic home theatre system. The physical design incorporates the dual aspect of a gun shooting club and a lounge room. Further a film loop is shown on the television monitor as part of the domestic space ??? it is non-narrative and semi-documentary in style. The film loop represents the mediation of the representation of fear where there is an exclusion of ???the other??? from the social body. When considering this installation it is important to note that politics and art need not be considered as representing two separate and permanent realities. Conversely there is a need to distance politicised art production from any direct political campaign work in so far as the notion of a campaign constitutes a fixed and inflexible space for intellectual and cultural production. Finally this paper expresses the need to maintain a critical openness to media cultures that dominate political discourse. Art practices such as those of Martha Rosler, Haacke and Paul McCarthy are presented as effective strategies for this form of production.

This thesis explores various dilemmas in making theatre performances in the context of social disruption, trauma and death. Diverse discourses are drawn in to consider issues of body, subjectivity and spectatorship, refracted through the writer’s experiences of and discontent with making theatre. Written in a fractal-like structure, rather than a linear progression, this thesis unsettles discourses of truth, thus simultaneously intervening in debates about the epistemologies of the body and of theatre in context of the academy. Chapter 1: Methodological Anxieties Psychoanalytic theory provides a way in for investigating the dynamics of theatrical performance and its corporeal presence, by focusing on desire and its implication in the notions of loss and anxiety. The theories of the unconscious and the gaze have epistemological implications, shifting definitions of “presence” and “truth” in theatre performance and writing about theatre. This chapter tries to outline the rationale for, as well as to enact, an alternative methodology for writing, as an ethical response to loss that does not insist on consensus and truth. Chapter 2: (Refusing to) Look at Trauma This chapter examines the politics that strives to make suffering visible. Discursive binaries of public/private, dead/living, and invisible/visible underlie the politics of AIDS and sexuality. These discourses impact on the reception of Bill T. Jones's choreography, despite his use of modernist artistic processes in search of a bodily presence that aims to collapse the binary of representation (text) and its subject (being). The theory of the gaze shows this politics to be a phallocentric discourse; and narrative analysis traces the metanarrative that results in the commodification of oppositional identities, so that spectators participate in the politics as consumers. An ethical artistic response thus needs to shift its focus to the subjectivity of the spectator. Chapter 3: The Screen and the Viewer’s Blindness By appealing to a transcendent reality, and by constituting spectators as a participative community, ritual theatre claims to enact change. The “truth” of ritual rests not on rational knowledge, but on the performer’s competence to produce a shamanic presence, which director Brett Bailey embraces in his early work. Ritual presence operates by identification and belonging to a father/god as the source of meaning; but it represses the loss of this originary wholeness. Spectators of ritual theatre are drawn into an enactment of communion/community, the centre of which is, however, loss/emptiness. The claim of enacting change becomes problematic for its absence of truth. Bailey attempts to perform a hybrid, postcolonial aesthetics; but the problem rests in the larger context of performing the notion of “South Africa”, a communal identity hardened around the metanarrative of suffering, abjecting those that do not belong to the land of the father/god – foreigners that unsettle the meaning of South African identity. Conclusion: Bodies of Discontent The South African stage is circumscribed by political and economic discourses; the problematization of national identity is also a problematization of image-identification in the theatre. In search for a way to unsettle these interrogative discourses, two moments of performing foreignness are examined, one fictional, one theatrical. These moments enact a parallel to the feminine hysteric, who disturbs the phallocentric truth of the psychoanalyst through body performance. These moments of disturbing spectatorship are reflected in the works of performance artist Marina Abramovic. Her explorations into passive-aggression, shamanism and finally theatricality and the morality of spectatorship allow for an overview of the issues raised in this thesis regarding body, viewing, and subjecthood. Sensitivity to the body and its discontent on the part of the viewer becomes crucial to ethical performance.

This exegesis is an exploration of meditative process in painting and drawing and accompanies an exhibition of paintings and large drawings called What Lies Beneath. The text contains several passages, called "meditations," which accompany the themes approached in the chapters and give insight into the thoughts and practices of the artist. The methodology involves the examination of the evidence of the work produced by selected artists, looking at the words of artists in notebooks, diaries and interviews and surveying a small number of local contemporary artists. The text opens up the possibilities of drapery and garments and of still life as paths to meditative practice in painting and drawing. The qualities that characterize meditative process/practice, derived from my observations, are categorized. Some of the strengths of these processes are revealed through the examination of the work of artists, both contemporary and historical. The work of Vermeer, Sanchez Cotan, Francisco Zurbaran and contemporary artists Anne Judell, Simon Cooper, Jude Rae, Alison Watt and Eva Hesse highlight different aspects of the meditative process in painting and drawing. The art works in the exhibition are documented and bring out the meditative processes that have contributed to their creation, including the use and meaning of the subject (drapery and the garment as a form of still life).

The research project uses still life as a means of exploring current events of violence and oppression. These events are represented through juxtaposing plastic toys with organic objects. The toys include a range of popular generic toys such as army men, cowboys and Indians and toy soldiers. The organic objects were selected for their relationship to the specific event being represented. The toys and organic objects were positioned to create interesting and logical compositions. Themes of the series include opposing objects and ideas pitched against each other such as plastic/organic, perpetrator/victim, violence/peacefulness and destruction/sustenance. Within each work the plastic toys take on the demeanor of the tyrant(s), whereas the organic objects adopt the role of the victim(s). The research project uses these themes to convey the message that violence is both a barbaric way of dealing with conflict and a senseless form of self-expression. I have used symbols and metaphors to build a visual language. For the language to be translated accurately a great deal of research has taken place into the appropriate still life objects for each work. Each work incorporates metaphors and or symbols for both the oppressor and victim within the event being represented. The studio outcome of this research project, Silent Bang, includes a series of highly detailed finished paintings of various scales. Silent Bang as a body of work is colourful and aims to be aesthetically pleasing in addition to conveying a powerful message that incites interpretation.

As an alternative to existing research which states that the phenomenon of displacement resists theorisation because of its complex nature, this study conducts a Phenomenological examination of the nature of displacement in which the interlinked losses in the key concepts of the consciousness of the displaced, namely Memory, Land and home and Identity, are navigated. It is shown that the current consciousness of society mimics these losses with the effect of displacement being experienced as a state of mind by contemporary society. By comparing selected artworks of artists Rachel Whiteread and Cornelia Parker, it is established that although manifested in diverse ways, contemporary artworks reflect displacement according to a set of broadly defined visual signifiers. The visual documentation of a site of displacement in the North West Province of South Africa and subsequently produced artworks underline these findings and highlight the elusive attributes of loss inherent in the displacement phenomenon.
Art History, Visual Arts & Musicology
M.A. (Visual Arts)

Thesis: Over the past decade there has emerged a growing body of scholarship concerned with the impacts and influences of automobility. Its purpose has been to understand the dominance of the car not simply as a technology of transport but as a system of actors, materials, objects, ideas and infrastructure. While much of this research recognises the pervasive presence of the car in our lives in terms of different representational formats, relatively little consideration has been given to what creative artists might contribute to this research. Adopting an interdisciplinary framework incorporating contemporary art, visual anthropology and the archaeology of the contemporary past, this study explores the intersection of car cultures and creative practice to consider how cars can operate as a form of art. In doing so the author proposes that artistic engagements with the car provide unique insight into the experiences of contemporary life. This argument follows from the understanding that art is not simply a mirror of or response to the socio-cultural and political context in which it is manifest. Art is also a conceptual tool for thinking about the very substance and conditions of contemporary existence. Incorporating research undertaken across numerous car culture sites and communities along with a detailed analysis of six case studies, the project makes extensive use of photography as a mode of research. Within the accompanying exegesis the author discusses how her own artwork engages with the influence of automobility in our daily lives. She identifies her working practice as one that is strongly inspired by objects, images and materials that already exist in the world. This enduring interest in the way people make their worlds is informed by her training and sensibility as an archaeologist. The artist explores this idea as a general influence on her practice and more specifically through her investigation of car cultures. The signature of the automobile is all around us, but through its very ubiquity it often goes unnoticed. It is this affect of the everyday - the power to hide in the light - that has especially influenced the artist's approach to the subject. How might this presence in our lives be envisaged without representing the car itself? By abstracting the auto from automobility the artist aims to reflect on the contradictory ideas and emotions that underlie our relationships to the motor vehicle. The story of the car is also allegorical. From the point of purchase to the aftermath of its obsolescence, the automobile is a site for the projection of our desires. The artist's photographs and video work are an expression of this sweet melancholy; the beauty of hope and the spectre of unfulfilled promise. In discussing how she came to develop her practice in response to this topic, the artist concludes that many different modes of being and making - from driving, to talking, to photography - may constitute art as practice-based research. Exegesis: This exegesis discusses how I came to develop a body of work that engages with the influence of automobility in our daily lives. I identify my working practice as one that is strongly inspired by objects, images and materials that already exist in the world. This enduring interest in the way people make their worlds in informed by my training and sensibility as an archaeologist. I explore this idea as a general influence on my art practice and more specifically through my very ubiquity it often goes unnoticed. It is this effect of the everyday - the power to hide in the light - that has especially influenced my approach to the subject. How might this presence in our lives be envisaged without representing the car itself? By abstracting the auto from automobility I aim to reflect upon the contradictory ideas and emotions that underlie our relationships to the motor vehicle. The story of the car is also allegorical. From the point of purchase to the aftermath of its obsolescence, the automobile is a site for the projection of our desires. My photographs and video work are an expression of this sweet melancholy; the beauty of hope and the spectre of unfulfilled promise. In discussing how I came to develop my practice in response to this topic, I conclude that many different modes of being and making - from driving, to talking, to photography - may constitute art as practice-based research.

Today it would be difficult to define peace, as we witness that wars have many forms and aspects different from armed conflicts. Many modern wars, even if their actors do not want to call them that, are conflicts at other, even invisible or not totally discovered spheres (cyberspace, outer space, trade markets, etc.) with sophisticated, nonviolent (at classic meaning) methods. Hybrid war is from sociological, psychological, and security aspects, a totally different and complex form of violence and battle. The Russia-Ukraine conflict in 2014 is seen as a tipping point for more attention on hybrid wars and defense. Understanding, good concept of hybrid wars, and prepared defense explained how some of most powerful armies in the world loosed their battles against much weaker enemies. Still, distraction of hybrid threats requires deep understanding of mass and personal psychology, media, and culture.

The onset of the 21st century is marked by deep psychological and sociological transformations affecting every scale of human endeavor, ranging from individual to crowd behavior. Deep and central to these transformations is the penetration of digital communication and computer technology into modern day life. Above all, this new and evolving technological landscape has opened exciting new possibilities to drive creative behavior, organizational creativity and innovation through computer-mediated interactions. Such opportunities are met with equal challenges that need to be addressed in order to harness the full potential of massively distributed creative collaborations. This chapter will elaborate on the underlying trends that give rise to these opportunities and challenges and to what extent these trends will govern creativity and innovation in areas of organizational life such as business, education, science and design in the next 10 to 30 years.

Reviewing the history of clinical educational curricula reveals enormous change and progress through successive antiquity up-to the current 21th century. Surely, there are stable fundamental criteria which are pillars in designing any curriculum; however there are torrential inevitable reforms which are important in filling the changeable gaps and fulfilling the ecological and temporal aspects. Over the last 20th century, numerous new paradigms for curricula reforms were constructed to adapt ebullient millennium needs, interactive pedagogical approaches and psychological/sociological learning theories. These reforms fostered clinical practice, integrating core competencies and reflection on designing, and achieving clinical curricula depending on outcome-based models such as clinical competences milestones. On the other hand, systematic approach of Kern′s framework adopts curriculum development through six consecutive interlinked and intersected steps which are refined to eight steps later. Moreover, taking contextual factors into account during curricula planning was evolved in other models such as PRISMS model. Despite all these pearly efforts, there are still caveats about inclusive gaps negligence between education process and overall health system. 3P-6Cs toolkit is deemed a recent novel paradigm that enrolls this role of health systems in clinical training during curricula design.

The research deals with phenomenon of mass art (mass culture) as one of the components of mass art modern world. An attempt to identify mass culture, mass art as a phenomenon is made and main approaches to its treatment and different aspects of its study in contemporary science are analysed. The first part of the work offers an overview of researchers’ views on the problem of definition of mass culture, mass art phenomenon and reveals ways of self-identification of it in the course of its development. Main features of mass culture, mass art are also studied. The second part of the work is devoted to the analysis of main approaches to the study of mass art and mass culture in early and in modern scientific works. As we see this phenomenon is widely examined by representatives of different research schools and scientific spheres. Philosophers, political scientists, writers, art critics, culturologists are involved in this process. The majority of the twentieth century researchers perceived mass culture as negative aspect of cultural social development because of its low level of quality and as a part of bourgeois culture focused on manipulating the minds of the masses. On the other hand the 21st century researchers realizing all the negative moments (idolatry, personality levelling) consider mass culture and mass art as natural necessary phenomenon of modern life, a base for development of professional art, a product of modern technology, show-business. The analyses of the phenomenon of mass art, mass culture gives us the picture of variety in opinions and approaches to this phenomenon as well as of the great number of aspects of scientific interest to the problem. In the majority of cases researchers’ concepts of mass culture, mass art clearly reflects the ideas of the periods they belong to.

This article covers some new forms of publicness in the field of art culture of the Russian city of Perm, e.g. dramatics as a performance in a street environment, and synthetic museum-theatrical form under the conditions of a stage box. The study was accomplished mainly via culturological method. At one time theatre left the urban environment, but in the 21st century theatrical forms have begun to permeate urban space again, the statement primarily concerns site-specific theatre. This is equivalent to the birth of new theatrical-city publicity, a new modality of the interpenetration of the public and the private. One of the best-known theatrical projects in this field is ‘Remote X’ (‘Rimini Protokoll’ band). Here, the close co-existence habitual to city dwellers turns into a social substrate, and a way to implement interpersonal artistic communication, thereby largely changing the disposition of the former, and transforming itself. Another new form of relationship between collective and individual aspects in the public sphere is the synthetic museum-theatre form, on the example of immersion dramatics ‘Permian Pantheon’ (Perm Academic Theatre, stager Dmitry Volkostrelov). The natural ‘calendar-seasonal’ tempo-rhythm of the dramatics creates a triple semantic effect risen from artistic reality. It immerses the viewer into the process of traditional subsistence in whole (actualisation of the cultural collective unconscious), represents cultural phenomena (which corresponds to the culture-focused paradigm of artistic consciousness of the second half of the 20th century to the early 21st century), reaches the level of worldview values, the philosophical generalisation of cultural-existential reality. Thus, on the example of two Perm theatrical plays the author can speak about the origin of new forms of publicness in contemporary culture to entail new relationships between publicity and privacy in the current realities.