Academic literature on the topic 'Ceramic figurative sculpture practice'
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Journal articles on the topic "Ceramic figurative sculpture practice"
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Wilkinson, Daniel. "The sculptor-architect: In rêverie." Design Ecologies 10, no. 1 (June 1, 2021): 99–121. http://dx.doi.org/10.1386/des_00012_1.
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As an architectural designer who has also worked as a figurative sculptor, my practice-led research sees the bringing together of sculptural modelling techniques with the sculpting of architectural drawings. Taking a singular reference to a lost architectural treatise by Michelangelo as its prompt, this article considers Renaissance sculptural practice as offering an alternate disciplinary footing to the norms that developed around Alberti; to which the development of contemporary architectural practice can be attributed. Through a process that moves towards drawing by way of a historically informed adoption of clay sketching, which is used to develop and inform an experimental polychromatic ceramic practice and virtual reality modelling techniques, my activities as a sculptor-architect critique the corporeal dismissals that marked the codifications of the Renaissance. Central to this is the capacity of disegno, which as a term was paramount for the era’s repositioning of architecture, painting and sculpture as liberal arts, to suggest broader approaches to design than an immediate reliance on drawing.
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Nadelman, Cynthia. "Pot People Recent Figurative Ceramic Sculpture." Sculpture Review 59, no. 3 (September 2010): 18–23. http://dx.doi.org/10.1177/074752841005900303.
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Sugito, Sugito, and Wahyu Tri Atmojo. "The Paramaters of Visual Art Assessment as a Measurement Instrument for Learning Products of Art Painting, Sculpture, Ceramic and Batik." Lakhomi Journal Scientific Journal of Culture 2, no. 1 (March 31, 2021): 17–34. http://dx.doi.org/10.33258/lakhomi.v2i1.421.
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Assessing learning products of visual art was unlike evaluating other learning products. Due to its relation to visual outcomes, the first assessment required proper sensitiveness and measurable references. The research was intended to be the effort to acquire parameters of visual art assessment, especially of art painting, sculpture, ceramic, and batik assessments. The findings could be used as instruments in various visual art learning activities. Data were collected by distributing a list, interviewing the informants, and having Focus Group Discussion. The respondents were visual art lectures in the Faculty of Arts and Literature in one of the state universities in norther island of Sumatera, Indonesia. They were excellent at visual art and equipped with required sensitiveness. Besides, they also had relevant education with art painting, sculpture, ceramic, and batik. The findings, in the form of assessment parameters, were first, parameters of visual art assessment were form similarity, proportion, spatial depth, technique, composition, content, ambiance, brightness, color harmony, and texture. Secondly, parameters of non-figurative sculpture assessment were technique mastery, proportion, smoothness, expression, volume, space, and idea authenticity. Thirdly, parameters of figurative sculpture assessment were visual anatomy, proportion, motion effect, and drapery. Fourthly, parameters of ceramic assessment were technique mastery/finishing, innovation creativity, novelty, smoothness, expression, harmony, and need (market need). Last, parameters of batik assessment were technique, authenticity, modernity, color harmony, innovativeness, need finishing, and affordability.
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MUDRA, I. Wayan. "Image Brayut on The Creation of Ceramic Sculpture." Cultura 16, no. 1 (January 1, 2019): 75–90. http://dx.doi.org/10.3726/cul012019.0005.
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Men Brayut is one of the interesting stories of Balinese people since ancient times until present that acts as a source of inspiration in art. This study aimed creating and describing the ceramic sculptures inspired by the Men Brayut story. This research uses qualitative descriptive approach in which the researcher becomes the main instrument. Data collection by observation and documentation. This statue was made using SP Gustami’s creation method namely exploration, improvisation and embodiment. The results show that the creation process of ceramic sculpture featuring Brayut image can be separated into two, they are the process of making the main character of Men Brayut and the process of making Brayut’s children as an ornamental media that can show the image of Brayut on the sculpture. The creation this sculpture was started from the bottom using the combined technique of slab, pinching, and coil. Based on its function, the creation of this statue is functioned as the ornamentation and the practice as well as the ornamentation. This work implemented the green, blue and brown glazes with the combustion temperature was 1200°C. Some of the created works were titled to Joy, Fatigue, Affection, and Affection 2.
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Zhou, Liting, Xiaomei Zou, Yongnan Huang, Yiyong Li, Luyao Guo, and Junyu Fu. "Inheritance and Innovation of Pottery Sculpture Technique in Shiwan, China: A Grounded Study from Cultural Ecology." International Journal of Environmental Research and Public Health 20, no. 4 (February 14, 2023): 3344. http://dx.doi.org/10.3390/ijerph20043344.
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Ceramics play an important role in human daily life and production practice. Pottery sculpture technique is the core of ceramic making. However, the production process of traditional ceramics is accompanied by high pollution, which has a great impact on human health and the ecological environment. Rapid development of industrialization has exacerbated this consequence. As the “Pottery Capital of Southern China”, Foshan has been involved in environmental crises while relying on the ceramic industry to develop. Since the 21st century, Foshan has gradually successfully driven to upgrade the city from industrial to culture-led by carrying out positive innovations in Shiwan pottery sculpture technique. Therefore, based on the theoretical perspective of cultural ecology, this paper selects Shiwan pottery sculpture technique as the object, uses Python (Octopus Collector) to obtain data, and applies grounded theory to generate the ecological evolution model. This study discussed how the Shiwan pottery sculpture technique promotes the harmonious coexistence of human beings, industries, and cities in the new cultural ecological environment of the 21st century by exploring and clarifying the interaction and function of different elements in different stages of evolution. Finally, this study not only makes up for the current lack of research on Shiwan’s cultural ecology, but also provides meaningful reference for environmental reform in other industrialized cities.
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Swinney, Geoffrey N. "Recycled objects: curatorial practice and the engagement of contemporary art in the interpretation of historical African figurative sculpture." Museum Management and Curatorship 32, no. 4 (March 21, 2017): 353–71. http://dx.doi.org/10.1080/09647775.2017.1298046.
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Lee, Wei-Hao, Yi-Fong Wu, Yung-Chin Ding, and Ta-Wui Cheng. "Fabrication of Ceramic Moulds Using Recycled Shell Powder and Sand with Geopolymer Technology in Investment Casting." Applied Sciences 10, no. 13 (July 1, 2020): 4577. http://dx.doi.org/10.3390/app10134577.
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Lost-wax casting, also called precision casting, is the process of casting a duplicate metal sculpture cast an original sculpture. The ceramic shell mould used in lost-wax casting usually consists of several layers formed with fine zircon and granular mullite particles using silica gel as a binder. However, it is a complicated and time-consuming process. Large amounts of waste moulds that need to be disposed and recycled become an environmental concern. In this study, waste shell sand from the recycled mould and calcium carbonate/metakaolin were used as raw materials to prepare geopolymer slurry and coating. The influence of mixing ratio and the SiO2/K2O modulus of the alkali solution on the setting time and green/fired strength were evaluated. Ceramic shells with one to four layers of geopolymer slurry and waste sand sprinkling were fabricated and tested for their permeability and green/fired strength. It was found that geopolymer shells had higher green/fired strength and better permeability than the original zircon/mullite shell. For foundry practice, metal casts were fabricated using recycled ceramic shell moulds with one to four layers of geopolymer coating. All cast results have their dimensions all within tolerance limitation and up to 13 h can be saved for the preparation of shell moulds.
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Михайлова, Р. Д., and С. С. Кисіль. "ПРО ОБРАЗНО-ЗМІСТОВНІ ДОМІНАНТИ ПЕЙЗАЖНОЇ АЛЕЇ В м. КИЄВІ." Art and Design, no. 3 (December 5, 2019): 97–105. http://dx.doi.org/10.30857/2617-0272.2019.3.10.
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Purpose. An analysis of figurative and informative accents of the Landscape Alley with graphic and design tools in the context of modern improvement of the historical landscape of Kyiv. Methodology. Research was conducted to study the object on the basis of historical and art history, functional, architectural and planning, landscape analysis. For a general assessment of the territory, field surveys, analysis of scientific, journalisticsources and design studies of previous years were carried out. Results. The figurative and meaningful dominants of the Landscape Alley in the historical landscape of Kyiv are determined. The essence and features of art and design tools are revealed during the shaping of its art elements, by combining sculpture with design art. It has been established that the Landscape Alley in Kyiv is an example of a new design thinking of fine art, as an option for designing a recreation zone of a metropolis and is determined by symbiosis: landscape, modern urbanism, traditions of fine art and modern design.Scientific novelty. For the first time, the meaning of the figurative and artistic solution for the arrangement of the Landscape Alley, the product of the collaboration of artists and design, was revealed. As a result, the historical landscape has been turned into a modern gaming, entertaining and comfortable recreational space. The content, role and significance of compositions of park sculptures, art objects of sculptural monumental and decorative plastic in the urban environment are determined.Practical significance. The scientific and practical results of the study can be used in the implementation of landscape-recreational design of urban areas – theme parks, squares, with the development of elements of improvement in them; in computer-aided design of the landscape and the subject environment with it; in the practice of image creation in art and design.
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Sakhno, Irina. "Alexander Burganov’s Alternative Worlds and Visual Ideograms." Scientific and analytical journal Burganov House. The space of culture 16, no. 1 (March 10, 2020): 38–55. http://dx.doi.org/10.36340/2071-6818-2020-16-1-38-55.
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Summary: The creative work of famous Russian sculptor Alexander Nikolayevich Burganov in the context of a system of copyright signs and conventional symbols, the artist’s relationship with the world and himself from the standpoint of symbolic valency which combines two forms of sculptural expressiveness – figurative and abstract art, are analyzed in the article. Considering hidden comparisons in Burganov’s work, the author analyzes the mythological and metaphorical thinking of the artist who appeals to invariable ancient images and surreal poetics that ultimately form an organic constellation of images and their harmonious completeness. Alexander Burganov’s sculptures are a productive space for an ambivalent play of many meanings and visual tautologies. The artist’s original reflections involve visual patterns that the sculptor articulates in his works: tradition and antiquity, cultural memory and modern philosophical contexts, semiotics of drapery/folds, a cage as a special sign, a symbol. The sculptor’s image paradigm also develops at the intersection of visual and verbal contexts, although the word as such is absent; however, the narrative discourse is obvious. The use of diverse semantics of sculpture-gestures plays an important role. Alexander Burganov’s sculptures, establishing a movable border between tradition and the historical avant-garde, reduce and reproduce new cultural meanings. Overcoming the boundaries of artistic optics and recreating new polystylism, he models a special lightness of sculpture and mobility of images in his sculptural works. The author draws attention to the sculptor’s ability to combine the most diverse layers of culture thus translating the artist’s original semantics based on allusions and allegories giving the viewer the right to independently navigate through the mazes of visual memory. The author emphasizes that the dialogue between the artist and the audience through symbolically abstract signs begins to model new forms of artistic matter and affect the human ordering of the world. Burganov’s artistic practice recreates the space of another reality – the world behind the looking glass of everyday life. The sculptor’s alchemy is such that the viewer immerses into the space of spiritual worlds, comprehends the sculptural plasticity and its expressiveness using the language of allegories and symbols. The observer establishes the inner essence of things, hidden conceptual impulses, tries to discover the spiritual in the material.
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Bellido-Márquez, María del Carmen. "Documentación escrita y fotográfica parametrizada del Monumento a Francisco de Paula Valladar (Granada) como útil para su valoración, difusión y conservación." Arte y Políticas de Identidad 23 (December 30, 2020): 199–229. http://dx.doi.org/10.6018/reapi.461231.
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Esta investigación define las características del Monumento a Francisco de Paula Valladar y Serrano (Granada). Su objetivo es documentar la escultura y para ello es preciso datar su ubicación geográfica, obtener su descripción, medidas y materiales de construcción, analizar su contexto histórico-cultural, concretar su lectura, considerar su valor patrimonial y exponer su estado de conservación. La metodología utilizada es teórica documental y de práctica fotográfica parametrizada, geolocalizadora y de orientación espacial. Las conclusiones obtenidas determinan que esta escultura monumental está ubicada en los Jardines del Genil (Granada), su acceso es por el paseo de la Bomba, su localización presenta una Latitud de 37º16´78.31´´ N y una Longitud de 3º59´98.45´´ E, su orientación frontal es NE-SO, sus medidas totales son de 232 x 76 x 76 cm. Se trata de una obra formada por peana pétrea -con alegorías femeninas y textos- y busto masculino de bronce patinado, su estilo es figurativo, su valor histórico es considerable, su lectura es conmemorativa y de homenaje, su contexto histórico de creación es culturalmente importante, su estado de conservación es medio y necesita restauración. La difusión de esta información contribuye a actualizar la memoria del patrimonio artístico de la ciudad. This research defines the characteristics of the Monument to Francisco de Paula Valladar y Serrano (Granada). Its objective is to document the sculpture and for this it is necessary to date its geographical location, obtain its description, measurements and construction materials, analyze its historical-cultural context, specify its reading, consider its heritage value and expose its state of conservation. The methodology used is documentary theory and parametric photographic practice, geolocation and spatial orientation. The conclusions obtained determine that this monumental sculpture is located in the Jardines del Genil (Granada), its access is through the Paseo de la Bomba, its location has a Latitude of 37º16´78.31´´ N and a Longitude of 3º59´98.45´´ E, its frontal orientation is NE-SO, its total measurements are 232 x 76 x 76 cm. It is a work formed by a stone base - with feminine allegories and texts - and a patinated bronze male bust, its style is figurative, its historical value is considerable, its reading is commemorative and tribute, its historical context of creation is culturally important, its state of conservation is medium and needs restoration. The dissemination of this information contributes to updating the memory of the city’s artistic heritage.
Dissertations / Theses on the topic "Ceramic figurative sculpture practice"
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Osborn, Lisa. "Encountering statues : object oriented ontology and the figure in a sculptural practice." Thesis, University of Plymouth, 2018. http://hdl.handle.net/10026.1/13070.
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This study reappraises the role and value of statues (i.e. the figure as sculpture) in order to determine what happens when we encounter these objects. The consideration and construction of statues in my studio practice has generated specific insights into statues as person-shaped objects and into our encounter with these objects. From the perspective of a practice making statues this study addresses how, through the encounter, statues both stimulate and obscure our perceptions of them as objects. My practitioner's understanding of statues is articulated and enlarged by developing methods which allowed me to gain an expanded perspective of my practice, through data collected from conversations about statues, and via a subsequent diffractive dialogue with concepts gleaned from other disciplines. This research process has revealed specific characteristics of the encounter, and of statues themselves, that have been excluded or obscured by familiar assumptions and theories, such as a tacit consideration of statues that allows us to be unsettled by their nudity, or the role touch plays in considering statues, and ultimately the history of the object itself. These findings are considered through a sustained engagement with Object Oriented Ontology (after Harman). Through this process, my initial findings are subsequently expanded and further enhance a re-conception of the encounter and of statues as objects. Finally, I argue for the importance of considering this reappraisal of the role the encounter with statues could play in revealing and reframing our relations with objects more generally.
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Fell, Fiona Vanessa. "Un/comfortable Bodies: Collaborative Performance, Embodiment, and Materiality in the Sensorial Field of Clay." Thesis, Griffith University, 2018. http://hdl.handle.net/10072/379323.
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This exegesis proposes art as an in/hospitable space for female embodiment, drawing on manifestations of the uncanny, the shadow, and the ghostly, for which theoretical support is found in new feminist, posthumanist, and new materialist discourses. Research for this exegesis has aimed to archive and reimagine two decades of ceramic figurative sculpture practice as well as establish a new language for my practice through an expanded field of material enquiry. Attention to the sensorial field of clay is an intuitive, as well as logical step in praxis. It recasts the perception of what the ‘traditional medium’ of ceramics may have to offer, in an era in which the system of art is becoming increasingly virtual. These investigations merge an intuitive understanding of clay with medical scanning technologies, video making, studio logic, and spatial investigations. The additional use of performance, collaboration, and interdisciplinary processes has destabilised and blurred the discrete, unyielding characteristics of the ceramic canon. This allows for an expansion of the language of art’s matter beyond the thin, opaque, impenetrable surface of fired and glazed clay. Instead, porosity, as the interpenetration and interconnection between the inside and the outside of the artist’s body, has created a new understanding of female embodiment and the nature of materiality in art making.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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Henley, Marty Clinton. "Figurative Sculpture and Social Commentary." Digital Commons @ East Tennessee State University, 2006. https://dc.etsu.edu/etd/2215.
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This thesis supports the Master of Arts exhibition entitled "Figurative Sculpture and Social Commentary" at the Slocumb Gallery located on the campus of East Tennessee State University in Johnson City, Tennessee, from April 10 - April 14, 2006. This is an exploration of human form in sculpture and the use of representational human form to make comments about society.
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Proctor, Ann R. "Out of The Mould: Contemporary Sculptural Ceramics in Vietnam." University of Sydney, 2006. http://hdl.handle.net/2123/1692.
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Doctor of Philosophy‘Out of the Mould: Contemporary Sculptural Ceramics in Vietnam’ is a study of the current practice of sculptural ceramics in Hà Nội, Vietnam and its historical antecedents within Vietnam and in the West. It examines the transition from a craft based practice to an art practice in some areas of ceramic practice in Hà Nội during the twentieth and early twenty first century. The theoretical basis for the thesis centres on Alőis Riegl's writings, especially Stilfragen (Problems of Style), 1893, in which he makes a close chronological examination of stylistic changes in various media, while intentionally disregarding any hierarchy within artistic disciplines. This is considered an appropriate model for the study of Vietnamese ceramics as the thesis proposes that, in recent years, ceramics has once more resumed its place as one of the major art forms in Vietnam. This status is in contrast to its relegation to a 'decorative', as opposed to a 'fine art', form in the discourse of the French colonial era. As background, the thesis examines the history of sculptural ceramics in Vietnam and discusses what is currently known of ceramic practice and the lineages of potters in particular villages famous for their ceramic works in the area around Hà Nội. The transition in ceramics practice is discussed in terms of the effect of changing conditions for the education of ceramicists, as well as the effect of other institutional structures, the economic changes as reflected in the art market and exhibitions structure and sociological changes. The role which ceramics has played in the emergence of installation art in Vietnam is also examined.
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Tuttle, Megan K. "HAMBRE DEL ALMA:NOURISHING THE HUNGRY SOUL." [Kent, Ohio] : Kent State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1258336622.
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Thesis (M.F.A.)--Kent State University, 2009.Title from PDF t.p. (viewed April 21, 2010). Advisor: Kirk Mangus. Keywords: ceramics; ceramic sculpture; figurative sculpture; heads; graffiti art; stream of consciousness; narrative. Includes bibliographical references (p. 16).
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Masterson, Richard Garrett. "Torso as ceramic vessel." PDXScholar, 1990. https://pdxscholar.library.pdx.edu/open_access_etds/4141.
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The ceramic forms in this thesis project represent a study of the sculptural and figurative qualities of the ceramic process. This study includes a search for a personal form language, development of the slab construction technique, and development of a glazed surface appropriate to the work. The subject of the work is the human torso, with the vessel-like forms focusing on the core of the body as a metaphor for the core of the human spirit.
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Harwood, Jarel M. ".(In|Out)sider$." BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/3967.
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This thesis explores the insider/outsider dynamic experienced by individuals as they enter diverse social situations. The shift from insider to outsider is evoked through an art installation of 18 sculptures drawing influence from "goth" subculture, as the viewer enters and interacts with the art space. The subjects of culture and identity are discussed as they pertain to insider/outsider status.
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Cadell, Melisa D. Ms. "A House Not of Our Choosing." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etd/1148.
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This thesis explores our existence through the confinement of the human body. The exhibition of “A House Not of Our Choosing,” was presented at the Tipton Gallery, 126 Spring Street Johnson City, Tennessee, from March 1, 2013, to March 8, 2013. It will visually describe Cadell’s thoughts regarding the figure as a fragile vessel. The installation is designed to require the viewer to closely examine the work from multiple perspectives.
The exhibition consists of sculpted paper, etched, painted, manipulated glass slides, and projection. Research discusses the work produced over a three-year period. Exploration and reflection in the areas of religion, history, philosophy and psychology contributed to the knowledge which inspired the exhibit.
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Lee, Chelsea. "Sub for More." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4879.
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This written thesis unpacks the thoughts and motivations behind the decisions I have made in my artistic practice that have ultimately culminated in my M.F.A. Thesis Exhibition: Sub for More. By merging images of my own work as well as internet sourced images of the culture that drives my work, I have created a platform to begin to understand my experience during graduate school. This text examines and explores my belief in the inherent power in pop culture, my obsession with fame, celebrity, and my self-identity as a participant in current pop-culture.
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Brod, Undine. "“C” is for Ceramics – It Also Stands for: Collecting, Community, Content, Confusion, and Clarity." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1309449467.
Full textBooks on the topic "Ceramic figurative sculpture practice"
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Hollister, Virginia. Contemporary Australian figurative ceramics. Wahroonga, NSW: V. Hollister and Kathrin McMiles, 1988.
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Faberman, Hilarie. Fired at Davis: Figurative ceramic sculpture by Robert Arneson, visiting professors, and students at the University of California at Davis, the Paula and Ross Turk collection. Stanford, Calif: Iris & B. Gerald Cantor Center for Visual Arts at Stanford University, 2005.
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500 ceramic sculptures: Contemporary practice, singular works. New York: Lark Books, 2009.
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Matthew, Kangas, ed. Shattered self: Northwest figurative ceramics. Pittsburgh, PA: Society for Art in Crafts, 1988.
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1943-, Bier Wolfgang, Goebel Galerie, and Deutschhof-Museum, eds. Porzellan und Farbe: Figurative Plastik der Gegenwart : 1. Förderpreis für Porzellanplastik, gestiftet von der Goebel Galerie : Wolfgang Bier ... : [Ausstellung], 16.12.1988 bis 26.2.1989, Städtische Museen Heilbronn, Deutschhof. Heilbronn: Die Museen, 1989.
Find full textBook chapters on the topic "Ceramic figurative sculpture practice"
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Arnold, Dana. "3. A global art history?" In Art History: A Very Short Introduction, 48–62. Oxford University Press, 2020. http://dx.doi.org/10.1093/actrade/9780198831808.003.0003.
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Are the practices of Western art history appropriate for the study of art from cultures outside its geographical boundaries and conventional timeframe? The bias in this interpretation of the subject opens up the questions of the importance of the canon in art history and how we view non-figurative, primitive, and naive art. ‘A global art history?’ considers a range of different examples of artistic practice from around the world, including the sculpture of the Dogon people of Mali and the calligraphy of Wu Zhen, who was active during the Yuan Dynasty (1271–1368). It also discusses what is meant by the ‘primitive’ arts of Oceania, Africa, and North and South America.
Conference papers on the topic "Ceramic figurative sculpture practice"
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Xu, Dianbin. "Practice and Exploration of Artistic Techniques in the Course of “Ice and Snow Sculpture Creation” - Study on the Correlation of Shaping Techniques Between Ice and Snow Sculpture Creation and Figurative Sculpture Creation." In 2022 International Conference on Comprehensive Art and Cultural Communication (CACC 2022). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220502.021.
Full textReports on the topic "Ceramic figurative sculpture practice"
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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.
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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.