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Journal articles on the topic 'Composition (Art)'

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Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Jumaev, Jasur. "The Importance Of The Subject "Art Photo Composition" In The Study Of Photo Art." American Journal of Social Science and Education Innovations 03, no. 03 (March 23, 2021): 84–88. http://dx.doi.org/10.37547/tajssei/volume03issue03-14.

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The article covers the basic concepts of artistic photo composition, the general purpose of the composition, the artist's use of visual and expressive means of this art, the use of specific methods and techniques of constructive construction.

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2

Shavkatovich, Khalilov Ruslan. "PENCIL IN FINE ART THE PLACE OF COMPOSITION." CURRENT RESEARCH JOURNAL OF PEDAGOGICS 03, no. 04 (April 1, 2022): 67–72. http://dx.doi.org/10.37547/pedagogics-crjp-03-04-15.

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The article is devoted to the theoretical analysis of academic painting and the basics of graphic drawing in the practical studies of fine art as well as the methodology of teaching the role of drawing in painting.

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3

Golson, Benny. "The Art of Composition." International Jazz Archive Journal 01, no. 4 (October 1, 1996): 33–38. http://dx.doi.org/10.2307/44758033.

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4

م. م. نعمات محمد رضا حسين. "Aesthetic ceramic art composition." Journal of the College of Basic Education 15, no. 58 (December 16, 2022): 441–64. http://dx.doi.org/10.35950/cbej.v12i58.7796.

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يعنى البحث بدراسة لأهم العناصر المكونة والجمالية للتكوين الخزفي وقد تضمن هذا البحث أربعة فصول . كان الفصل الأول يعني بأهمية وحدود وأهداف البحث مع تعريف لأهم المصطلحات المذكورة داخل متن البحث . إما الفصل الثاني فقد تضمن مبحثان ، عني الأول بفكرة الجمال من الماضي إلى الحاضر ، والثاني بأهم العناصر الجمالية في تكوين العمل الفني الخزفي . وقد ورد فيه شرح لأهم العناصر المكونة الأساسية للعمل الخزفي والجمالية له . وعلاقة كل واحدة بالأخرى لتكوين العمل الفني الخزفي . كما تضمن الفصل الثالث تحليل عينة البحث المختارة من أصل مجتمع البحث . إما الرابع فقد تضمن المحصلة النهائية التي خرجت بها كنتيجة للبحث . وهي ترابط العناصر المكونة الأساسية من مادة وشكل و مضمون مع العناصر الجمالية له من لون ، ملمس ، تعبير إضافة بالتأكيد مع بعض من العناصر الأخرى من فضاء وتناسب وتناسق ....إلخ لنخرج بمحصلة نهائية وهي الشكل الجميل للعمل الخزفي

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Moreschi, Bruno, and Gabriel Pereira. "Recoding Art." Revista Farol, no. 22 (October 26, 2020): 10–35. http://dx.doi.org/10.47456/rf.v1i22.32686.

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When Varèse lived in that street sixty years earlier, he was creating Poème Electronique, a commission from the Philips company. The eight-minutes song would become the soundtrack of the pavilion created by Le Corbusier at the 1958 Brussels World's Fair. For this composition, Varèse gathered trivial sounds from Eindhoven, noises that would only be the disposable sounds of everyday life for many. But not the composer who, exhibiting keen attention and sensitivity, saw poetic power in these sounds and produced a striking composition. [...]

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6

Shcherbyna, V. H. "PERSPECTIVE AND PERSPECTIVE IN COMPOSITION." Educational Dimension 5 (June 26, 2003): 70–78. http://dx.doi.org/10.31812/educdim.5140.

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Clause is devoted to a problem application of perspective systems in educational art practice of the students. The author marks existence of large number of visual positions in fine art. The opportunity of application of excellent(different) composite receptions (point of view) in educational composite practice is considered (examined) as against linear prospect, dominant in art pedagogic. The work includes samples o f construction o f the image not only with excellent (different) visual positions, but also with association o f the several points o f view in a composition. Clause is designed both fo r the students o f an art structure, and on the teachers o f maximum pedagogical school, art schools etc..

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7

Hong, Ming. "National Characteristics and Art Composition Characteristics of Tujia Brocade Art." Journal of Educational Theory and Management 2, no. 1 (April 28, 2018): 17. http://dx.doi.org/10.26549/jetm.v2i1.688.

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As one of China's national minorities, Tujia nationality has exerted an important role in the development course of modern national culture. In the development course of national culture of Tujia nationality, its brocade art inherited generation by generation has been extensively applied in art inheritance in modern society. It has also been applied in practical teaching to manifest the unique style and special artistic expression of Tujia brocade art. Under such a context, it is necessary to strengthen analysis on itsnational characteristics in the art development course and art composition characteristics. For this purpose, this paper makes special analysis on the national characteristics and art composition of Tujia brocade art in the sequence of analysis on the basic components of Tujia brocade art, analysis on its national characteristics and then detailed analysis on its composition characteristics. The author hopes to help people to understand the unique characteristics and results of Tujia brocade art after the analysis in this paper.

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8

URANO, Sachi. "Quantitative Assessment of Composition in Art." Journal of the Society for Art and Science 11, no. 4 (December 20, 2012): 102–7. http://dx.doi.org/10.3756/artsci.11.102.

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9

Hash, Peaches. "ARTiculating Literacy: Art Making and Composition." English Leadership Quarterly 43, no. 1 (August 1, 2020): 19–23. http://dx.doi.org/10.58680/elq202030823.

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10

Kalinina, Larisa Yurievna. "Contests of concept «art-composition» in context of XXI century art education." Samara Journal of Science 5, no. 2 (June 1, 2016): 162–65. http://dx.doi.org/10.17816/snv20162306.

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The article discusses the concept of art composition, that functioning in practice music teachers, teachers of fine arts and literature, teachers of choreography and theater. However, the theoretical foundation of art-composition and content of the concept has not yet been the subject of a special study. At the same time, comprehension of innovative approach in educating to the art, maintenance of artistic education characterized by an orientation on studying - man with a modern world view, it is necessary. A necessity of enriching of thesaurus of school pedagogics was clear, actual terms, art composition behaves to the number of that. This study contributes to the problem of a more general nature - the possibility of using polyart creative activities as a means of identification and learning of gifted children. The originality of the art-composition - in the innovative thinking of the modern author, whose seeking to portray the world is not the way it sees, but the way it understands. Results of the creative work can be presented in different art forms, not excluding sketches, improvisations, postmodern games with the text. The pedagogical value of the art-composition: the teacher can visually track the progress of the child in the field of aesthetic perception, associative thinking and the work with the material.

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11

Oripova, Gulnoza Murodilovna, and Madinakhon Toyirjon Qizi Tolibova. "Composition Of Modern Uzbek Stories." American Journal of Social Science and Education Innovations 03, no. 03 (March 27, 2021): 245–49. http://dx.doi.org/10.37547/tajssei/volume03issue03-35.

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This article discusses the views on the genre of the story, the essence, functions and significance of its composition. The compositional features of contemporary Uzbek stories, the basic artistic functions in the organization of composition, elements of the composition of a work of art are analyzed on the basis of the stories of Shoyim Butaev.

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Səfxan qızı Məhərrəmova, Nigar. "History of Azerbaijani carpets with classical composition." SCIENTIFIC WORK 67, no. 06 (June 21, 2021): 113–17. http://dx.doi.org/10.36719/2663-4619/67/113-117.

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Today, many artists and designers are creating new compositions, bringing a new look and a new breath to the art of decorative application, working on modern methods of combining the national traditions of Azerbaijan's classical carpet compositions. Unusual, beautiful and intricate national and sometimes abstract patterns that adorn Azerbaijani carpets are real works of decorative art. Azerbaijani carpets have been representing our rich historical past and national culture for centuries all over the world. At present, the main task of masters of decorative and applied arts, carpet artists and carpet designers is to create beautiful and perfect works, to create modern carpet compositions using national carpet traditions. Key words: carpet, artist, designer, modern, composition, abstract

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13

Tolle Mace, Dean. "Transformations in classical art theory: From ‘poetic composition’ to ‘picturesque composition’." Word & Image 1, no. 1 (January 1985): 59–86. http://dx.doi.org/10.1080/02666286.1985.10435667.

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14

Parker, Jennifer no e. "Composing [De]Composition: Data Sonification for Sound Art and Music Composition." Leonardo 51, no. 5 (October 2018): 528. http://dx.doi.org/10.1162/leon_a_01664.

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15

Stern, Sacha. "Talmudic Stories: Narrative Art, Composition, and Culture." Journal of Jewish Studies 52, no. 2 (October 1, 2001): 379–81. http://dx.doi.org/10.18647/2369/jjs-2001.

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16

Brown, Cindy. "BOOK REVIEW: Photography: The Art of Composition." Visual Communication Quarterly 13, no. 1 (March 2006): 58–59. http://dx.doi.org/10.1207/s15551407vcq1301_7.

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17

Bray, George A. "Measurement of Body Composition: An Improving Art." Obesity Research 3, no. 3 (May 1995): 291–93. http://dx.doi.org/10.1002/j.1550-8528.1995.tb00151.x.

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18

Kim, Jin-Hee. "Stochastic Composition: Creative Diversity in Generative Art." Journal of Contents Computing 5, no. 2 (December 31, 2023): 663–72. http://dx.doi.org/10.9728/jcc.2023.12.5.2.663.

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19

Bogdan, Zadorozhny. "THE ART OF MODERN STAINED GLASS IN THE ARCHITECTURE OF CHURCHES OF UKRAINE." Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 4, no. 1 (March 30, 2022): 47–53. http://dx.doi.org/10.23939/sa2022.01.047.

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An important place in modern art culture is occupied by the stained glass art of modern temples. Particular attention is drawn to the stained glass compositions of sacred buildings, which impress with their aesthetics, composition, colors, and artistic expression. Ukraine has formed its own special traditions of stained glass work in the decoration of temples. The use of stained glass, made by modern various technologies by artistic processing of glass in combination with other types of decorative finishes create a special emotional worldview in a modern church. In the process of studying modern stained glass windows in the decoration of temples, their manufacturing technology, compositional solution, color scheme were analyzed and the main features of the artistic image were identified. The study of modern stained glass windows of sacred buildings makes it possible to determine the features of Ukrainian stained glass art and its national decoration Analyzing the stained glass windows of modern church buildings as a form of monumental and decorative art, it can be argued that the process of formation of church art was influenced by both Ukrainian traditional manufacturing technologies and European cultural factors, including artistic language, composition, colors and performance technologies. It is worth noting that the modern art of monumental stained glass has its own artistic, constructive and technical, and technological features. It is safe to say that modern stained glass compositions of temple buildings, made by advanced modern technologies and techniques, the latest methods of processing sheet glass using new materials and improving the artistic image, impress with their aesthetics, composition, colors, and artistic expression.

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20

Kulakov, Vladimir. "Origin of Symmetrical Composition in Decorative Art of the Viking Age." Izvestia of Smolensk State University, no. 1(57) (July 3, 2022): 178–86. http://dx.doi.org/10.35785/2072-9464-2022-57-1-178-186.

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For the first time, a symmetrical composition with figures of a deity standing on the godsof carnivorous animals appeared in the Middle Eastern art of the III–II millennium B.C. In the Mycenaean era, this composition became known to adherents of Hellenic art, who realized it both in painting and sculpture. This composition realizes the idea of their authors striving to convey to recipients the concept of the power of the depicted deity and his power over the animal world. A symmetrical composition with standing predatory animals, which is a clear oriental innovation in the art of ancient Europe, was not represented on our continent in ancient and Hellenistic times. As a result of the gradual increase in the eastern influence on the art of late Rome, symmetry again became known to Europeans in the products of provincial-Roman masters of the 5th century A.D. In late antiquity, goldsmiths in the Roman provinces used this composition on the parts of military belt sets. These images became models for the ancient German masters who represented the God Wotan / Odin surrounded by mythical animals and birds dedicated to him. The decorative art of the Viking Age, alien to symmetry, retains it only in the plot of the pagan canon «Odin and the Crows». Variants of this «pagan icon», realized in the decorative art of the Viking Age, came to an end in the Germanic world of a composition with symmetrically located predators, which began in the Ancient East in Akkadian time. In this case, we have a unique example of the multi-thousand-year existence of the pictorial motive, used by jewelers and stonecutters to make impressive images of mystical creatures. The predators surrounding them were intended to symbolize the unearthly power of the deities.In Byzantium, a symmetrical composition remained relevant until the XIV century. Modern and contemporary historypreserves paired images of predators in heraldic and architectural compositions. However, their genetic relationship with Ancient Eastern images requires additional study.

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Zangwill, Nick. "Art Identity." Dialogue 38, no. 2 (1999): 335–48. http://dx.doi.org/10.1017/s0012217300007241.

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RésuméJ'étudie la conception selon laquelle l'identité d'une œuvre d'art est déterminée par ses propriétés esthétiques; et je la compare avec la conception selon laquelle l'identité de l'œuvre d'art est déterminée par les origines de sa composition. Je soutiens que les deux théories présentent des qualités et des défauts, et que les qualités de l'une sont les défauts de l'autre. Cela nous révèle le genre de théorie dont nous avons besoin.

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22

Fedorova, Irina. "“BELOBEREZHSKIY PATERIK”: COMPOSITION, SOURCES, GENRE." Проблемы исторической поэтики 20, no. 2 (March 2022): 280–303. http://dx.doi.org/10.15393/j9.art.2022.11062.

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“Beloberezhsky Paterik” is preserved in the manuscript of the Department of Manuscripts of the Russian National Library (P. N. Tikhanov collection, no. 214) and consists of materials related to the Beloberezhskaya hermitage, founded in the early 18th century in the White Shore tract near Bryansk. The main purpose of the article was to determine the conformity of the “Beloberezhsky Paterik” to the genre canon. The work analyzes the genre composition, configuration, principles of material organization, and establishes the sources and time of compiling the collection . The analysis was carried out with regard to the tradition of ancient Russian patericons and the development of late patericography. As the study demonstrated, the constant features of the genre organically manifested themselves in the “Beloberezhsky Paterik.” Thus, the complex composition of the collection allowed to consider it as an ensemble that includes traditional patericon forms: legends about icons, parochial chronicles, patericon Lives, the Life of the founder of the monastery and the hermit's Life, miracles and visions. The “memory of the genre” also manifested itself on other levels: unification of material by topographical feature, cyclization and the chronological principle of data organization, simplicity of the narrative style, themes and motives traditional for the patericon Life (the theme of hermitage, the motives of martyrdom and temptation) are realized. The ideological and thematic unity of the collection, as the analysis of the works that comprise it has revealed, is organized by two themes — the Beloberezhskaya hermitage as “the house of the Mother of God” and “the second Jordan.” The sources of the patericon were archival materials and publications in magazines of religious and moral content (“Kormchiy,” “Emotional Reading,” “Wanderer”). It was also established that the Paterik was compiled between 1894 and 1905, but it is not yet possible to name its compiler.

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23

Volans, Kevin. "ART BEGINS WHERE CRAFTSMANSHIP ENDS." Tempo 70, no. 278 (September 28, 2016): 64–66. http://dx.doi.org/10.1017/s0040298216000346.

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In the last few months of his life, Bob Gilmore embarked on another major project: that of writing a book about my work. He pressed me to try to define what I meant by non-conceptual composition and composition as an art form. This is a condensation of some of the topics we talked about for many hours.

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Lloyd, James. "Composition, Comparison, and Concept." Greek and Roman Musical Studies 8, no. 2 (August 14, 2020): 323–37. http://dx.doi.org/10.1163/22129758-bja10010.

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Abstract While recent discussions of music archaeology have emphasised the importance of context for the study of the art and archaeology of ancient music, there has not been much theoretical engagement with the objects themselves. This paper takes recent arguments concerning two objects identified as strobiloi to propose an object-based framework for the study of ancient art and archaeology in relation to ancient music. Contexts are not infallible. Being mindful of composition, comparisons, and concepts (the three core elements of the proposed framework), I argue that there is, as yet, no certain artistic or archaeological evidence for interpreting objects identified as strobiloi as musical devices, and that the Asteas Phrynis vase cannot be used as a reliable source for organological detail.

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Bekmirova, Dilnoza. "Content, Significance And Procedure Of Application Of Composition In The Field Of Art Education." American Journal of Social Science and Education Innovations 03, no. 01 (January 31, 2021): 605–8. http://dx.doi.org/10.37547/tajssei/volume03issue01-105.

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The article reveals the educational value of students comprehension of compositional laws, theoretical and practical basics of composition by the sample of , landscape drawing genre. It gives the examples of works by Uzbek artists and also the importance of learning the laws of composition and their implementation in architecture.

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26

Wu, Jiang. "A practical inquiry into the teaching of graphic composition in art design specialty." Journal of Education and Educational Research 9, no. 1 (June 25, 2024): 429–31. http://dx.doi.org/10.54097/wshh9p57.

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This paper probes into the practice of graphic composition teaching in art design major, in order to improve students' ability of graphic composition and creative level. Firstly, the importance and application value of plane composition in art design are analyzed. Then, it discusses the basic principles and methods of plane composition teaching, including theoretical explanation, practical operation and review and reflection. This paper sums up several key points of plane composition teaching, such as sense of form, visual balance and space construction. Finally, it summarizes the effects and challenges of practical inquiry, and puts forward some suggestions for further developing the teaching of planar composition. The purpose of this study is to provide references and ideas for the graphic composition teaching of art and design majors, and to enrich the practical experience of art and design education.

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Despot, Katerina, and Vaska Sandeva. "ELEMENTS OF PRINCIPLES INFLUENCING THE PARK COMPOSITION." International Conference on Technics, Technologies and Education, no. 1 (2018): 210–14. http://dx.doi.org/10.15547/ictte.2018.05.004.

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The composition occupies a central place in the system of concepts describing the visual image. It is related to the history and the aesthetic categories and to the commonality with the term "whole". In the theory of park art, term composition means - arrangement of individual plants or combined with dead materials so as to form a harmonious whole subordinate to the artistic idea. The main theoretical works in park art are closely related to the principles of the general theory of composition. In every art, the idea is expressed by an artistic image that is specific to the artificial form of aesthetic, concrete-sensory drawing of the action.

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Ward,, Robin A., and Jennifer Albritton. "Vasily Kandinsky’s Versatile Art." Mathematics Teacher: Learning and Teaching PK-12 113, no. 9 (September 2020): 745–50. http://dx.doi.org/10.5951/mtlt.2020.0013.

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This article describes how a second-grade teacher used Vasily Kandinsky’s Composition VIII as the springboard to a lesson in data creation and analysis, while also integrating geometry concepts, reading, and writing.

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29

MATYUSHINA, Inna G. "CLÁRI SAGA: GENRE, COMPOSITION AND STYLE." Nordic and Baltic Studies Review, no. 7 (2022): 9. http://dx.doi.org/10.15393/j103.art.2022.2241.

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Prajakta, Harne, Mishra Munish K, and Sodhi G.S. "Examination of Invisible Writing Liquid Composition and Their Decoders." Journal of Forensic Chemistry and Toxicology 4, no. 2 (December 15, 2018): 77–81. http://dx.doi.org/10.21088/jfct.2454.9363.4218.1.

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From the earlier times of espionage, invisible ink is considered to be an assured and significant device of cryptography. Even though the use of invisible ink has now been almost entirely taken over by technical cryptography or steganography, its history still remains exceptionally fascinating, and today researchers are trying to find out readily available compositions which can inscribe secretly and their respective decoders. The art of secret writing was probably proposed to create any written text indecipherable to a reader who could read the same only after applying certain decoding process to make the writing legible. Though, the methods of secret writing are abundant but this paper principally emphases on the application of commonly available items which could act as a secret ink and similarly other commonly available items which could be applied as their respective decoders.

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31

Cho,, Eun Haun. "Analysis Method of Art Education Considering Ruben's Composition." Journal of Cultural Product and Design 48, no. 1 (March 30, 2017): 13–22. http://dx.doi.org/10.18555/kicpd.2017.48.2.

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Erickson, Bryce. "Art and Geometry: Proportioning Devices in Pictorial Composition." Leonardo 19, no. 3 (1986): 211. http://dx.doi.org/10.2307/1578239.

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Наталія Дігтяр and Олександр Тарасенко. "COMPOSITION IN THE LANDSCAPE: ART AND PEDAGOGICAL ASPECT." Problems of Modern Teacher Training, no. 2(22) (October 1, 2021): 49–55. http://dx.doi.org/10.31499/2307-4914.2(22).2020.219394.

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The author emphasizes the importance of studying the landscape as a genre of fine arts by students. The laws and techniques of composition are the basis, the basis of writing works of all genres of painting that is why compositional competencies are the main place in the structure of art education. This is especially true of landscape composition.Creating a landscape involves drawing in the open air, outdoors. The work should start with finding the best location – landscaping locations. It is well known in an art practice that any composition begins with sketches. The same goes for landscape composition. It is emphasized that in the course of future teachers' of fine arts professional training should be acquainted with the basic laws of the construction of landscape composition on the plane, the means of applying the method of golden intersection in landscapes, methods of reaching the depth of space in the image of the surrounding nature in different compositional formats and compositional generalization; step-by-step work from compositional searches to detailing and completion of a complete artistic landscape image. Art educators argue that all the details in the landscape should be well connected and helped to express the overall idea of the composition. To do this, students need to focus on more area characteristic features, select the most typical landscape objects. It is revealed that the landscape is not just a copy of nature from nature, but also the expression of the artist's attitude to nature, the transfer of the artist's own mood, their experiences and emotions. The author emphasizes the importance of studying the соmpositional techniques in the landscape should be applied not formally, but in order to best express the main idea of the artist. The author agrees with the opinion of artist-educators, who argue that students should be given the opportunity to independently set certain compositional tasks and perform them independently in the creation of a landscape.

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Rowland, Jess. "Flexible Audio Speakers for Composition and Art Practice." Leonardo Music Journal 23 (December 2013): 33–36. http://dx.doi.org/10.1162/lmj_a_00151.

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The author presents a creative and technical practice using flat flexible audio speaker surface arrays. These arrays can be formed to various environments, offer diverse design possibilities and allow for user interaction. This practice provides an alternative to traditional models of sound reproduction by considering how visual and physical material could be construed as sound itself. Taken as art material, these surface array systems open up unique possibilities for acoustic spaces, composition and sound interactivity.

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Porton, Gary G. "Talmud Stories: Narrative Art, Composition, and Culture (review)." Shofar: An Interdisciplinary Journal of Jewish Studies 20, no. 3 (2002): 172–73. http://dx.doi.org/10.1353/sho.2002.0037.

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36

Best, Susan. "Choreography, Visual Art and Experimental Composition 1950s–1970s." Australian and New Zealand Journal of Art 23, no. 1 (January 2, 2023): 119–24. http://dx.doi.org/10.1080/14434318.2023.2222390.

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Doluda, A. О., O. S. Puklich, T. S. Romanenko, and O. S. Drobysheva. "FORENSIC FINE ART RESEARCH OF PAINTINGS." Theory and Practice of Forensic Science and Criminalistics 18 (December 26, 2018): 534–42. http://dx.doi.org/10.32353/khrife.2018.62.

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The features of performing and the main directions of research on objects of forensic fine art examination, namely works of painting. It is noted that according to the performance technique, the painting is divided into oil, tempera, watercolor and encaustic painting (wax as a binder of paints). Proved the need to know the expert of the painting technology. It is important to distinguish the materials that served as the basis, since each of them has its own composition, structure and features, which tells on their properties, and this, in turn, affects the character and condition of all components of painting and, in particular, the colorful layer as the most defining feature. Different types of craquelure and its origin are considered. It is indicated that craquelure is formed under the action of various factors, and therefore it differs both in form, location-oriented disposition, and formation method.The criteria for determining the composition creation time and its authenticity are defined. It is noted that craquelure is one of painting authenticity features, therefore, on non-authentic composition, in order to pass them off as genuine, craquelure is formed by means of mechanical action that is fairly easy to recognize, or by means of painting technology violating. Considered the need for comprehensive research. It is proved that correspondence of an handwriting to the author handwriting in the signature is one of the most important features of composition authenticity which is determined according to the methods of forensic handwriting researches by the relevant specialists and it is performed as a comprehensive fine art and handwriting examination. Another of the most important authenticity features is the correspondence of the chemical composition of coloring pigments and their origin to the time of applicability and time of composition creation which is determined with the involvement of the appropriate specialists in while performing a comprehensive forensic fine art and chemical examination.

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Pang, Wei. "Analysis of Picture Composition in Teaching Contemporary Photographic Art." Highlights in Art and Design 4, no. 1 (August 28, 2023): 107–9. http://dx.doi.org/10.54097/hiaad.v4i1.12002.

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The study of photographic composition is a transitional stage from the basic course to the creative course, and it is required to cultivate students' photographic consciousness and photographic means of expression in the process of teaching composition. Through the description of the basic theory of photographic composition elements, this paper focuses on the three main characteristics of contemporary photographic art picture composition, from what problems need to be solved in photographic picture composition to the elaboration of the connotation and purpose of photographic picture composition, and analyzes the research method and basis of picture composition. The photography course mainly teaches the general rules of picture composition, mainly cultivates students' observation ability and the ability to instantly organize the picture, and requires students to focus on the use of the subject to tell the content of the work, to convey the idea, and to make clear how to make all-round modeling of the subject, so as to lead the viewers' sights to the subject that the photographer wants to express. It emphasizes that picture composition is the process of reproducing the thoughts of the photographer.

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Аidynian, A. V. "Some features of the legal construction of the criminal offense provided art. 201-2 of the Criminal code of Ukraine." Analytical and Comparative Jurisprudence, no. 4 (November 27, 2022): 268–73. http://dx.doi.org/10.24144/2788-6018.2022.04.49.

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The article examines some features of the legal structure of the criminal offense provided for in Art. 201-2 of the Criminal Code of Ukraine. The author analyzes the subject of the criminal offense provided for in Art. 201-2 of the Criminal Code and concludes that the subject of this criminal offense is goods (items) of humanitarian aid, charitable donations, free aid and "such property". At the same time, the use of free assistance may include the performance of works or the provision of services. Instead, charitable grants are not the subject of this criminal offense. The author considers standard and special options for the formation of a qualified composition of a criminal offense. In the qualified composition of a criminal offense, formed according to a special variant, at least one feature of the main composition is replaced by the corresponding qualifying features. The opinion is substantiated that the legal structures provided for in parts 2 and 3 of Art. 201-2 of the Criminal Code, formed according to a special variant of the formation of a qualified composition of a criminal offense. According to the author the sign "committed in a significant amount" is provided for in Part 1 of Art. 201-2 of the Criminal Code, is mandatory for the criminal offense provided for in Part 1 of Art. 201-2 of the Criminal Code. At the same time, it is not mandatory in the qualified and especially qualified criminal offenses provided for in parts 2.3 of Art. 201-2 of the Criminal Code. The author extends this conclusion also to cases where a qualified or particularly qualified composition of the criminal offense provided for in Part 2 or Part 3 of Art. 201-2 of the Criminal Code and by other (different from cost characteristics) qualifying or especially qualifying features. The author believes that the syntactic analysis of the legal structure of Part 1 of Art. 201-2 of the Criminal Code indicates that the feature "for the purpose of obtaining profit" is a mandatory feature of this criminal offense. At the same time, the concept of "profit" in this case can be understood in a narrow (traditional) sense as the difference between income and expenses, or in a broad sense as receiving any benefit as a result of the commission of an act provided for by this composition of a criminal offense.

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Hudson, Martyn, and Tim Shaw. "Dead Logics and Worlds: Sound art and sonorous objects." Organised Sound 20, no. 2 (July 7, 2015): 263–72. http://dx.doi.org/10.1017/s135577181500014x.

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From the early experimentation with specific sounds in musique concrète (Palombini 1999) to the ‘anecdotal’ music of Luc Ferrari (1996) and the ecological sound activism of Hildegard Westerkamp (2002), the collecting, composition and recomposition of sonorous objects has been central to sound practice. Some sound art has privileged a relationship with visual arts and the structuring of objects in curated spaces (Licht 2007), others with the sound worlds beyond the exhibition (Schafer 1994). By examining a specific sound art installation, Sound and Seclusion by Tim Shaw, this article reworks the idea of sonorous objects as artefacts displaying different kinds of representations, knowledges or data. This question of sonorous ‘knowledge-objects’ is particularly important as ‘collected sounds’ become incorporated into compositions away from their, often remote, spatio-temporal origin out there in the landscape. This article raises three areas for discussion. First, what can sonorous objects tell us about the pre-compositional world (Impett 2007)? Second, in what ways can we understand sonorous objects as they are reworked in compositions which re-narrate them? Third, how can we understand sonorous objects as traces and pieces of data as well as aesthetic productions? The article concludes with a case for reworking the very idea of a sonorous object in sound practices as a product of dead logics and dead worlds as it emerges in new ensembles of composition away from its origin.

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Mastipanova, A. V. "SOME APPLIED TASKS OF THE GEOMETRICAL DRAWING IN THE ACCORATIVE ART." Educational Dimension 10 (May 27, 2022): 165–71. http://dx.doi.org/10.31812/educdim.5798.

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An author offers a postulate about possibility of imitation of arbitrary smooth curve by a line with the tsyrkuVnymy interfaces. The method of construction of decorative compositions having in the composition lines with the tsyrkulnymy interfaces is developed, which passed out the test on the artistically-graphic faculty of the Kryvorozhskogo state pedagogical university.

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Amazonas, Mauro, Thais Castro, João Gustavo Kienen, Rosiane Freitas, and Bruno Gadelha. "Composing aleatoric music through interaction." Per Musi, no. 40 (June 22, 2021): 1–35. http://dx.doi.org/10.35699/2317-6377.2020.26077.

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Urban public art is an art exhibition held in public places, contextualized with their surroundings and its audience. Technology is a significant trend in public art due to its connection possibilities with human life, fostering different kinds of interaction. In this way, this work presents an installation proposal consisting of an environment for creating collaborative random music from interaction with mobile devices in public spaces. Everyone participating in the installation is a composer and interaction is a chance agent, although it follows John Cage's composition methods. In order to probe technology, we carried out two pilot studies, followed by a workshop for the installation itself. Those two pilot studies led us to a new version that was put into practice during the workshop. During the workshop, participants' interaction generated fourteen compositions, and the sounds resulting from the collaborative composition were made available to the public through a website.

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Talipov, Nozim Hamidovich. "CREATIVE TECHNOLOGIES OF WORKING PORTRAIT COMPOSITION IN PROFESSIONAL TRAINING OF FUTURE FINE ART TEACHERS." CURRENT RESEARCH JOURNAL OF PEDAGOGICS 04, no. 01 (January 1, 2023): 81–88. http://dx.doi.org/10.37547/pedagogics-crjp-04-01-12.

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The article contains the basic theoretical and practical recommendations for the portrait. Since the work on the portrait requires a special approach from the painter, the article gives the features of individual methods on this issue.

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Yaftopramana, Yaftopramana. "Reinterpretation of Rapa'i Geurimpeng into "Ritif" Musical Composition." Art, Science, Culture, and Technology of Indonesian Journal 1, no. 1 (July 5, 2023): 63–81. http://dx.doi.org/10.24821/asctij.v1i1.10170.

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"Ritif" is a work of karawitan music composition that departs from the Canang game precisely in the rukun or act of Behavior in the art of Rapai Geurimpheng. "Ritif" consists of several syllables, of which "Ri" is a syllable taken from "Rhythm", rhythm; is an orderly rush of steps usually called rhythmic steps. While "Tif" is an abbreviation of the word chosen from the word "Attractive", attractive is attraction or analogous to something that is played happily. This means that the word "Ritif" in this work is analogous to a form of expression or application of items that are played attractively, this is clearly seen in the art of Rapai Geurimpheng which is contained in the fourth act chosen by the artist as the basis of the work. The focus of the work is the spirit contained in the Canang game in the Behavior round, the spirit here is an element that underlies the spirit, soul and spirit values contained in humans through aspects of togetherness in community life. The spirit of this "Ritif" work will be actualized through working material and the use of musical techniques or terms such as changes in dynamics, changes in tempo, and changes in accentuation. This work was worked on using a reinterpretation approach, by making three Canang playing motifs as working materials through rapai, djembe, floor, cymbal, hyhat, seurune kale, bass guitar, coconut shells, and vocals as sound expression media.

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B, Zadorozhny. "THE ART OF STAINED GLASS IN THE ARCHITECTURE OF TEMPLE BUILDINGS OF THE RENAISSANCE PERIOD IN LVIV." Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 3, no. 2 (November 20, 2021): 38–43. http://dx.doi.org/10.23939/sa2021.02.038.

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The stained glass art of temples and chapels of the Renaissance period occupies a special place in the fine arts of Lviv. Special attention is drawn to the stained glass windows of Lviv's sacred buildings, which impress with their aesthetics, composition, colours, and artistic expressiveness. In the process of studying stained glass windows in the decoration of Renaissance churches and chapels in Lviv, the manufacturing technology, compositional solution, their colour scheme were analyzed and the main features of their artistic and figurative expression were revealed. Renaissance stained glass windows have not survived, all stained glass windows of Lviv temple buildings were made in the XIX-early XX centuries. The stained glass compositions of the Church of the Assumption are marked by a simple and at the same time refined composition and picturesque colours in light tones in contrast to the Gothic patterns. Ornamental stained glass compositions were used in the interiors of the chapels. Ukrainian artists of monumental art used the latest progressive technologies of making stained glass. Professional foreign artists - connoisseurs of stained glass art - were invited to make stained glass window compositions of Lviv Renaissance temple buildings. All stained glass windows of Lviv's sacred buildings are highly artistic decorative works and belong to Ukrainian artistic heritage.

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Bonassar, Lawrence J., Eliot H. Frank, Jane C. Murray, Claribel G. Paguio, Vernon L. Moore, Michael W. Lark, John D. Sandy, Jiann-Jiu Wu, David R. Eyre, and Alan J. Grodzinsky. "Changes in cartilage composition and physical properties due to stromelysin degradation." Arthritis & Rheumatism 38, no. 2 (February 1995): 173–83. http://dx.doi.org/10.1002/art.1780380205.

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Zaitseva, Veronika. "Artistic stylization as the main means of expression in different genres of fine arts." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 165–69. http://dx.doi.org/10.32461/2226-3209.2.2021.240002.

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The purpose of the article is to analyze the essence of the method of stylization and determine its creative and expressive role in various genres of fine arts. Based on the experience of the world and domestic visual art to explore the practical use of methods and techniques of artistic stylization. The methodology consists of the application of general scientific methods (analysis and synthesis, induction and deduction) and methods of art history (comparative, typological, descriptive). The scientific novelty of the work consists in a comprehensive study and identification of the features of expressive means of artistic stylization of a pictorial composition in different genres of modern fine art. Conclusions. Exploring the expressive means of artistic stylization of composition in various genres of fine arts, it can be noted that leading foreign and domestic artists in their work have widely used a variety of techniques and methods of creative stylization of artistic images. The analysis of the experience of the world and domestic visual art of fine stylization should promote better visual perception and creation of subject-spatial stylized compositions and is, therefore, an extremely fruitful object of research.

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YESBALAYEVA, R. Zh, and M. B. SHAIKHYSTAMOVA. "ANALYSIS OF THE ART WORK AND ITS TYPES." Iasaýı ýnıversıtetіnіń habarshysy 124, no. 2 (June 15, 2022): 24–35. http://dx.doi.org/10.47526/2022-2/2664-0686.02.

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The article presents clear conclusions that after identifying the materials and foundations related to the history of writing a work of art, it is possible to consider their formation, creation, organization, placement in a literary text, i.e. to differentiate specific types of images in their text, based on concepts such as compositional rearrangement, compositional structure, architectonics, scheme, installation, design, system, structure. The plot structure of the artwork, each image, picture, moment, episode, detail, portrait, landscape, retordation, lyrical digression, monologue and dialogue, a separate word are visual aids that make up the composition. The composition of a literary work is a consistent arrangement and continuity of the depicted subject units and linguistic and artistic techniques, a system of connections of the elements of the work, a sign. The plot is the connection of people in the work with each other, communication, struggle, the development of events in the work. So, the story is not described randomly, but develops in a certain order. One event is its cause, the other is its result. Composition is present in all works, because without composition, the work loses its artistic value. The composition also combines things that go beyond the plot, i.e. it is a broader concept than the plot. The article explains the approaches and methods of step-by-step analysis of the structure of the work, provides an analysis by examples.

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AL-Shargabi, Bassam, Asim El Sheikh, and Alia Sabri. "Web Service Composition Survey: State of the Art Review." Recent Patents on Computer Sciencee 3, no. 2 (June 1, 2010): 91–107. http://dx.doi.org/10.2174/2213275911003020091.

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Hong Mei. "Composition Performance Characteristics of the Digital CG Painting Art." International Journal of Advancements in Computing Technology 5, no. 2 (January 31, 2013): 554–62. http://dx.doi.org/10.4156/ijact.vol5.issue2.69.

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