Journal articles on the topic 'Constructivism (Art)'
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Ермилова, Дарья, and Darya Ermilova. "Soviet constructivism as a creative design concept of the XX century." Servis Plus 11, no. 3 (September 19, 2017): 54–70. http://dx.doi.org/10.22412/1993-7768-11-3-7.
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The article is devoted to the theory and practice of Soviet constructivism as a creative concept in the design of the XX century in the context of the theory of "production art". Subject of research considers to be theoretical propositions, which were implemented in particular design methods and projects of industrial clothes and constructivist fabrics as an example of practical implementation of the ideas of constructivism. The aim of the study is the examination of constructivism as a creative concept in the design from the point of view of formation peculiarities of its theoretical bases and design methodologies. The hypothesis of the study is the constructivism, which arose under the influence of "industrial art" concept, among other things, suggested the active use of the graphical method of forming and methods of combinatorial programmed forming, which were due to the creative experience in the field of non-objective painting. The study uses the cultural studies approach, which considers design activity of constructivists in close connection with the realities of the era, a systematic approach that allows revealing the relationship of aesthetic theories with the concrete practice of design-design, art analysis in the description of projects of the constructivists. The article proves the influence of the theory of "industrial art" on the formation of the concept of constructivism, analyzes the origins and features of the method of constructivism, especially the graphics method of forming and methods of programmed forming. The article compares the concepts of constructivism with the trends of costume design of the XX century. There are identified the "weak points" of the concept and method of constructivism, which became one of the reasons for failing to fully implement projects in practice. For the first time there were identified the causes of failures in the design of the costume, not associated with ideological attitudes, and with the very creative method. The results of the study fill the insufficiently developed areas in the history of constructivism. Because the constructivism methods remain relevant for modern design, the results of the study can be applied in teaching of "Design" profes-sional disciplines.
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Srebnik, Anita. "Theo van Doesburg, Vladimir Tatlin en de constructivistische reis naar de vierde dimensie." Neerlandica Wratislaviensia 28 (June 26, 2019): 183–202. http://dx.doi.org/10.19195/0860-0716.28.14.
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Theo van Doesburg, Vladimir Tatlin and the constructivist journey to the fourth dimension The magazine De Stijl is considered a constructivist magazine with Theo van Doesburg at its centre, especially among writers. This article tries to find an answer to the question: which characteristics in van Doesburg’s poetry make him a literary constructivist, taking into account the premises of the original constructivism as it emerged in pre-revolutionary Russia at the beginning of the 20th century. This is done by analysing his poem entitled X-Beelden 1920 which could come close to constructivism. First, there follows a brief outline of some essential features of a constructivist work of art, explained by presenting an example from architecture, which at the time was considered the most important art also for literary constructivists. This idea was inspired by the non-Euclidean geometry and the theory of relativity. The new concept of time and space developed at the beginning of the 20th century was adopted by many artists, among them van Doesburg. Although he often reflected upon it in his programmatic essays, not enough evidence was found to prove the thesis that his poem X-Beelden 1920 could be constructivist and that the fourth dimension would find its way into his literary practice.
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SERHIYENKO, S. "ANALYSIS OF MUSICAL ART TEACHING METHODS IN THE PARADIGM OF THE CONSTRUCTIVIST APPROACH." Scientific papers of Berdiansk State Pedagogical University Series Pedagogical sciences 1, no. 3 (December 7, 2022): 179–88. http://dx.doi.org/10.31494/2412-9208-2022-1-3-179-188.
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The article considers the problem of choosing methods of teaching music in educational institutions in the paradigm of constructivist approach to the organization of educational activities. The purpose of the article is to provide an overview of some general approaches and strategies for teaching music based on the constructivist theory of learning in secondary school. Among the analyzed methods are a lecture, demonstration and modeling, opening method, video showing, tour, role play, project, survey technique, opening method. The article also highlights the factors that determine the choice of teaching method. The main tasks are as follows: to determine the key characteristics of the constructivist approach to learning, to analyze the key provisions of the basic theories of cognitive cognition; to analyze the main methods of teaching music in terms of their coordination with the constructivist approach to learning. Theoretical and empirical methods were used in the study. During the study, theoretical and methodological sources on the research problem were analyzed, the potential of teaching methods was practically assessed in order to organize the educational process in the discipline «musical art» in the context of constructivism theory, the factors determining the choice of teaching methods were identified. Analysis of the problem of selection of methods of teaching music in the paradigm of the constructivist approach allows us to note that the theory of constructivism provides for the possibility of personal construction of knowledge and educational activities by students. Under such a system of teaching, students' knowledge is an individual, variable interpretation of the presented and assimilated information, which provides a conscious perception of music and deep reflection during the educational process. The novelty of the study lies in the study and application of the theory of social constructivism in order to optimize the selection of teaching methods for the successful implementation of the educational process of music art in educational institutions. Key words: constructivism, cognitive cognition, cognitive development, lecture, method of demonstration and modeling, method of video showing, method of interrogation, method of exercises, method of learning through discovery, discussions and debates, role play, project, excursion.
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Giżycki, Marcin. "Construction – Reproduction: Graphics, Photography and Film in Polish Constructivism." Kwartalnik Filmowy, Special Issue (December 31, 2013): 203–16. http://dx.doi.org/10.36744/kf.1902.
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Giżycki deals with the problem of an interest in photography and film, shown by Polish avant-garde artists from its beginnings. According to Giżycki, photomontage, film, prints made of typographic elements, and first of all film collage were the means that were perfectly suitable for the realisation of Constructivist ideas. One of the basic aims of Constructivism – to turn towards new materials – could be put in practice through the use of finished and prefabricated elements. Giżycki traces the way in which the artworks were evolving from the „literary quality” of the early photomontages of Mieczysław Szczuka, Teresa Żarnower’s abstract and geometric compositions, Stefan and Franciszka Themerson’s films, inspired by Constructivism Pharmacy (1930) and Europa (1932) and Jalu Kurek’s (Rhytmic Calculations, 1932) into typically collage-montage films of Janusz Maria Brzeski (Sections, 1931; Concrete, 1933) or his anti-Utopian and anti-industrial series of photomontages Birth of a Robot (1934). Giżycki also points out that after a period of Utopian projects by artists relishing a regained freedom, the Constructivists expressed through art their, mostly left-wing, political beliefs. [originally published in Polish in Kwartalnik Filmowy 2006, no. 54-55, pp. 31-44]
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Kayii, NumbaraBari E., and Margaret E. Akpomi. "Constructivist Approaches: A Budding Paradigm for Teaching and Learning Entrepreneurship Education." International Journal of Education, Teaching, and Social Sciences 2, no. 1 (February 4, 2022): 31–44. http://dx.doi.org/10.47747/ijets.v2i1.586.
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Constructivism is an approach to learning that believes in the personal construction of knowledge by learners through the interaction of prior knowledge to form a new experience. Constructivism represents the state-of-the-art in the teaching of Mathematics and Sciences at all levels of education. However, there is less work on constructivist teaching and learning in Entrepreneurship Education. This study reviewed theoretical and empirical studies on constructivism with emphasis on how it can help organizations achieve value creation through the vehicle of Entrepreneurship Education. Also, the study summarizes the pedagogical goals of constructivist learning and conceptualizes the dimensions of Entrepreneurship Education, the relevance of Entrepreneurship Education, teaching methods in Business Education, and brings out an understanding of the paradigm shift. The study reveals that the focus of Entrepreneurship Education is to promote innovation and value creation among learners. Consequently, the researcher has drawn a useful conclusion on the application of constructivist approaches in teaching Entrepreneurship Education, and it was recommended, among others; that stable industrial policy on the collaboration between small business entrepreneurs and research institutions for the exploitation of research findings of those institutions to achieve sustainable technological development.
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Prater, Michael. "Constructivism and Technology in Art Education." Art Education 54, no. 6 (November 2001): 43. http://dx.doi.org/10.2307/3193914.
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Pendikova, I. "Constructivism and Art Deco: the reaction of Elite art?" Experiment 15, no. 1 (2009): 92–98. http://dx.doi.org/10.1163/2211730x-01501016.
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Shilo, Alexander V. "Gosprom Ensemble in Kharkiv and the Concept of Modern Style." Docomomo Journal, no. 70 (April 15, 2024): 18–26. http://dx.doi.org/10.52200/docomomo.70.03.
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The ideologists of Constructivism and “production art” of the 1920s put forward the slogan “not style, but method!”. However, the Constructivists-“productionists” movement carried a stylistic charge of great power. The intentions of the Constructivists-“productionists”, their manifestos and slogans are polemically pointed evidence of their awareness of their own place in the Soviet culture of the 1920s. Creative practice continued the development of a certain artistic tradition. It is necessary to reconstruct the development of the problem of style in the concept of “productionists” as a natural and historically determined stage of the movement. The manifestation of the rejection of the idea of style in artistic creativity in the concept of “production art” paradoxically corresponds to its specific conditions in setting the task of creating and identifying the mechanism for the development of modern style. They are analyzed in the article.The “anti-stylistic” orientation of “production art” was paradoxically opposed to the orientation towards a “Constructivist style”. In the late 1920s, it covered a wide range of architects and artists who did not belong to the Constructivist movement and who opposed them. In this regard, the fate of several outstanding monuments of the Modern Movement in the architecture of Kharkiv is indicative — the House of State Industry (Gosprom), the House of Projects and the House of Cooperation. They were the largest and most integral ensemble in their architectural and compositional solution, which embodied the ideas of the Modern Movement in Soviet architecture. The reconstruction of the ensemble after the Great Patriotic War (1941-1945) showed the contradictions that were embedded in the Constructivist concept of the modern style. The duality of understanding the art form in it was revealed. On the one hand, it acted as an independent stylistic entity. On the other hand, it could also be considered as a framework, a “draft” of some further work with the form. The concept of modern style defended by the “productionists” was problematized by the practice of “Constructivist stylizations”.
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Rozin, Vadim Markovich. "Notes on the nature of avant-garde and constructivism." Культура и искусство, no. 5 (May 2020): 106–19. http://dx.doi.org/10.7256/2454-0625.2020.5.32555.
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Based on the materials of the family of architects Zimonenko-Feierstein, this article examines the peculiarities of avant-garde and constructivism. Roman Feierstein and Lyubov Zimonenko graduated the Moscow University of Arctitecture and were taught by pedagogues – the representative of avant-garde and constructivism. To understand the nature of avant-garde and constructivism, the author characterizes the goals and tasks solved by these trends and concepts, as well as analyzes the works of Roman Feierstein and Lyubov Zimonenko. It is demonstrated that constructivists create artistic reality, juxtaposing and simultaneously combining various processes and contents, sending over consciousness of a spectator to a particular reality. This pattern is inherent not only to figurative art, but also literature. The article employs situational and comparative analysis, methods of reconstruction of the works of applied arts and generalization. As a result, the author was able to reveal certain peculiarities of avant-garde and constructivism as an approach and activity, as well as underline that avant-garde and constructivism as approaches also suggest conceptualism. The role of conceptualism consists in outlining and explaining of reality, created by an artist for their audience.
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Simspon, Judith. "Constructivism and Connection Making in Art Education." Art Education 49, no. 1 (January 1996): 53. http://dx.doi.org/10.2307/3193579.
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Vergunovа, Natalia. "THE EMERGENCE OF INDUSTRIAL DESIGN IN THE POST-SOVIET AREA. THE INFLUENCE OF CONSTRUCTIVISM." Scientific Issues of Ternopil National Pedagogical Volodymyr Hnatiuk University. Specialization: Art Studies, no. 2 (May 23, 2023): 126–31. http://dx.doi.org/10.25128/2411-3271.19.2.17.
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The beginning of industrial design’s formation (“production art”) started in the 20’s years of the last century. As it was the time of ambiguous and controversial phenomena, the further refinement and clarification of theory based on factual data is required. At that time the concept of new relations between art and production was developed, as well as its ideological saturation and functional purpose. One of the key elements in this concept is the phenomenon of constructivism and its impact on the emergence of industrial design in the post-Soviet space. These fundamental and often irreconcilable complexities and contradictions can be traced in numerous articles of theorists: N. Punin, B. Kushner, A. Ghan, M. Ginsburg, N. Chuzhak and others. Each of them has a personal point of view in terms of semantic content of “constructivism”. Their vision of constructivism is essential for reconsidering and refinement of those processes in context of socio-economic and cultural formations of that time. The aesthetics of artistic designing was based on rejection of artistic idea as well as decorative elements and other old forms of art so orientation towards the functional requirements in everyday things was the priority. It was happening due to the fact that old forms of art represented a certain social position of human in a society where the relations of people are often replaced by the relations of things. Another reason for abandoning the artistic forms of past also has to do with the social area of that time when useful things were opposed to pieces of art associated with luxuries that were unacceptable in those difficult and contradictory conditions of life. The theoretical support of “constructivism” term was provided by Oleksiy Ghan and his book “Constructivism” published in Tver in 1922. A. Ghan and his followers understood constructivism not only as “conventional” art, but as “intellectual and material production” associated with science and technology, which is the basis of industrial design of today. Thus, the formation of “production art” in the 20’s of the twentieth century went under the significant influence of constructivism. There are also some several conflicting points regarding the phenomenon of constructivism, namely the primary meaning of this term. Some researchers focus on the formal side of constructivism than on its social content. Meanwhile, there are several substantive levels of perception of constructivism, namely the connection with technical construction; connection with the structural organization of work of art, which also represents a certain construction; connection with construction process, for example, with methods of engineer’s work; connection with the purpose set by organization, that is, the construction of subject environment. This multilevel semantic diversity of “constructivism” term also reflects the wide range of phenomena covered by this concept. It has more than a purely stylistic sense, for example in design and architecture, and cannot be linked to the literal manifestation of an object’s construction. As S. Khan-Magomedov have noted, constructivism, first of all, was understood as a new method of designing. In other words, it is essential for solving problems of shaping, and the process of form creation is fundamental in design, especially in industrial design.
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Thompson, Christine Marmé. "Constructivism in the Art Classroom: Praxis and Policy." Arts Education Policy Review 116, no. 3 (July 3, 2015): 118–27. http://dx.doi.org/10.1080/10632913.2015.1015759.
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Pontual, Roberto. "Cannibalism and constructivism: Two modes of Brazilian Art." Review: Literature and Arts of the Americas 19, no. 36 (January 1986): 13–17. http://dx.doi.org/10.1080/08905768608594213.
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Ossewaarde, Ringo, Tatiana Filatova, Yola Georgiadou, Andreas Hartmann, Gül Özerol, Karin Pfeffer, Peter Stegmaier, et al. "Review article: Towards a context-driven research: a state-of-the-art review of resilience research on climate change." Natural Hazards and Earth System Sciences 21, no. 3 (March 26, 2021): 1119–33. http://dx.doi.org/10.5194/nhess-21-1119-2021.
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Abstract. The twofold aim of this paper is to provide an overview of the current state of resilience research with regard to climate change in the social sciences and propose a research agenda. Resilience research among social scientists is characterized by much more diversity today than a few decades ago. Different definitions and understandings of resilience appear in publications during the last 10 years. Resilience research increasingly bears the mark of social constructivism, a relative newcomer compared to the more long-standing tradition of naturalism. There are also approaches that are indebted to both “naturalism” and “constructivism”, which, of course, come in many varieties. Based on our overview of recent scholarship, which is far from being exhaustive, we have identified six research avenues that arguably deserve continued attention. They combine naturalist and constructivist insights and approaches so that human agency, reflexivity, and considerations of justice and equity are incorporated into systems thinking research or supplement such research. Ultimately, we believe that the overarching challenge for future research is to ensure that resilience to climate change does not compromise sustainability and considerations of justice (including environmental, climate, and energy justice).
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Puncer, Mojca. "Advanced Constructivism and Postgravity Art: Theoretical and Philosophical Implications." Leonardo 51, no. 5 (October 2018): 475–81. http://dx.doi.org/10.1162/leon_a_01383.
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This article discusses art’s potential in outer space through a dialogue between European and Russian avant-garde traditions, and the postgravity art project by Dragan Živadinov, Dunja Zupančič and Miha Turšič. They enact a 50-year theater performance, Noordung:: 1995–2045, with the help of high tech, Suprematism and Constructivism. The performance is based on five replays every 10 years with the same actors and on technological substitutes of the deceased. The project has several topical theoretical implications. The author explores its key philosophical aspects and presents new potentialities for a systemic cognitive model for image and space conceptual transformations within the context of contemporary art and aesthetics.
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R. Chan, Joefrey, Joanna Marie A. De Borja, Jayson L. De Vera, Jhun G. Himoldang, Ryan V. Lansangan, Mark Gill M. Mercado, Hazel Dr. Samala, and Abegail A. Soliman. "Constructivism and Pedagogical Practices of Science Teachers." International Multidisciplinary Research Journal 2, no. 2 (June 25, 2020): 1–11. http://dx.doi.org/10.54476/iimrj360.
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This study generally aimed to determine how the theory of constructivism has been translated into pedagogical practices of science teachers among the selected schools in Metro Manila. The study utilized case study adapting passive observation, document analysis and semi-structured interview in the data gathering and thematic interpretation in data analysis. Results uncovered that teachers’ practices of planning learning episodes elicit active engagement as an evidence of meaning making. Various learning activities have been conceptualized to thoroughly activate prior knowledge on essential information and concepts and link these to new knowledge being introduced in the lesson through designed activities. The art of questioning has been observed to initiate and induce engagement among learners and was evident in the implementation of different strategies such as pre-assessment, reflection, collaboration, and use of language. Assessment procedures planned and implemented by teachers embodied a constructivist approach in terms of assessing students’ understanding of concepts, creation of new knowledge, and integration of ideas to other disciplines. Results of the study further implied to revisit the curricular preparation of teachers in terms of its alignment to the various postulates of constructivist-approach of teaching and learning.
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Oka Prasiasa, Dewa Putu. "Mural Art as a Media for Social Criticism: Perspective Structuralist-Constructivism." Mudra Jurnal Seni Budaya 37, no. 2 (May 9, 2022): 203–11. http://dx.doi.org/10.31091/mudra.v37i2.1985.
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The phenomenon of delivering messages through mural art occurs in the social life of the Indonesian people, and is used as a medium for social criticism in the public sphere. The purpose of this study is to find the meaning of social criticism that is carried out through the media of mural art and to find the shift in values that occurs in mural art. Based on the research objectives, this research is a qualitative research with a structuralist-constructivism approach from Pierre Bourdieu. Data were collected through observation and in-depth interviews with mural artists community. The theories used to understand, criticize, find meaning and find shifts in the value of mural art are the Habitus Theory and the Cultural Production Theory. This study found that social criticism conveyed through the media of mural art has an economic meaning, a meaning of community popularity, and a meaning of freedom. While the shift that occurred, this study found that mural art, which was originally an artist's expression as a monumental work, shifted to a commodified and contemporary work.
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Mzhelsky, V. M. "CHANGES IN SOVIET ARCHITECTURAL STYLES IN THE 1930s." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture 21, no. 4 (August 28, 2019): 125–37. http://dx.doi.org/10.31675/1607-1859-2019-21-4-125-137.
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Purpose: The aim of the paper is to study the history of Soviet architecture, associated with changes in its stylistic orientation, when instead of the previously dominant constructivist forms other forms began to prevail, namely Art Deco, neoclassicism and eclecticism. The paper explores the processes in architecture of that time, identifies the main prerequisites for the formation of that architectural style.Methodology/approach: The methodological approach includes a comparative analysis of scientific publications and buildings of Soviet architecture of the 1930s. A comprehensive study is conducted to identify the prerequisites, processes and features of the architecture of this period.Research findings: The main results concern the period under study accompanied by both evolutionary and cardinal changes in architecture associated with the general architectural policy of the government and the creativity of architects. All this determines the peculiarities of the controversial, transitional style of Soviet architecture. The analysis of the controversial architectural style considers the individual genesis. This style is formed under specific conditions and has its own history. Architectural competitions of the 1930s demonstrate the stylistic diversity of architecture and the evolutionary transition from constructivism to Soviet neoclassicism observed in the works of those architects who previously designed the style of constructivism. The term post-constructivism means both a purely chronological concept, that is a period in the history of architecture following the epoch of constructivism and the specific architectural and stylistic phenomenon which still combines constructivism and elements of the subsequent style. A search for individual architects determines the style of the 1930s. In this regard, the term post constructivism best reflects the diversity of architecture of that time, taking into account the historical era and national identity, and the use of elements typical to Art Deco, Neo-Renaissance, or Classicism.Practical implications: The research results can be used to further studying the architecture of this period as well as in the preparation of courses on the history of Soviet architecture of the 1930s. This study makes it possible to realize historical, artistic and cultural value of this style, thereby preserving it in the future.Originality/value: The history of the architecture of that period is still not well understood and is of particular interest for researchers. This study considers both well-known and insufficiently studied buildings of Soviet architecture of the 1930s, compares the obtained facts and opinions of other authors‟. As a result, the paper combines, compares and analyzes interesting information on this topic and investigates concrete facts. Also, a comparison is given to the architecture of the studied and previous periods.
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Prokopchuk, Inna. "Художня освіта та мистецтво аванґарду в Україні у контексті радянської соціалістичної програми." Studia Ucrainica Varsoviensia 5, no. 5 (May 8, 2017): 0. http://dx.doi.org/10.5604/01.3001.0009.9116.
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The study presents retrospectives of the early periods of the so-called “Soviet culture”, through the prism of historical and political events which occurred after 1917 when Soviet ideologists assigned to avant-garde art, in particular, to futurism and constructivism, to carry out their destructive work. The attention is drawn to historical preconditions of the formation and development of the new forms of the Ukrainian art education. The artistic works of 1920 designated out of passion of the prospects opened by cubofuturism, suprematism, and constructivism are analyzed. The unique features of works of prominent authors consist in their organic combination of social experiment of post – revolutionary epoch with the experiments of avant-garde arts. It is underlined that in particular avant-garde art impregnated by the ideas of futuristic utopia became a real foundation for the offi cial soviet art until 1932.
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Rapoport, Alek. "Tradition and Innovation in the Fine Arts." Canadian-American Slavic Studies 45, no. 2 (2011): 183–206. http://dx.doi.org/10.1163/221023910x535593.
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AbstractSince childhood, AR was attracted by art. His first teacher, E. Sagaidachny, was a former member of the nonconformist groups “Youth Union” and “The Donkey Tail”. Later, in Leningrad, AR enrolled in the V. Serov School of Art. In spite of official Socialist Realism, some teachers (Shablovsky, Gromov, Sudakov) introduced their students to Russian avant-garde. AR educated himself, copying the paintings of Old Masters in the Hermitage Museum. During 1959-1963 AR studied Russian Suprematism and Constructivism in the Leningrad's Institute for eater, Music and Cinema under the supervision of N. Akimov. AR considered himself as a follower of Russian Constructivism with the roots in ancient Mediterranean and Byzantine art. After graduating, AR's life was full of different activities. He preferred teaching at the V. Serov School of Art, but was fired for “ideological conspiracy” as a founder of the new courses – Technical Aesthetics, Yu. Lotman's eory of Semiotics and Russian Constructivism. In the 1970s AR became an active member of a nonconformist artist group TEV (Fellowship of the Experimental Exhibitions) and the co-founder of the ALEF group (Union of Leningrad's Jewish Artists). This activity brought close attention of KGB and he was forced to emigrate in 1976. Living in the USA, AR criticized American contemporary art for its un-spirituality, commercialism and rejection of traditions – a necessary basis of existence of art. He belonged to two traditional cultures, Jewish and Russian, and his art is traditional. His art represents his own thoughts turned into his paintings, with a great appreciation to discoveries of the Old Masters. And the circle is not closed.
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Ishchenko, Katerina. "To the problem of "polyphony of consciousness" in the context of the aesthetics of constructivism." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 229–33. http://dx.doi.org/10.32461/2226-3209.2.2021.240071.
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The purpose of the article is to trace the peculiarities of the phenomenon of "polyphony of consciousness" as one of the main patterns of artistic thinking of the early twentieth century, which became widespread in various arts and reflected artistic and aesthetic trends of such a bright movement of the first avant-garde as constructivism. On the examples of music, literature, theater, cinema, fine art to reveal this phenomenon as an important manifestation of the aesthetics of constructivism. In selected works of art, to identify and consider characteristics of the musical text polyphonic techniques, which in turn have been widely used and reflected the individual stylistic features of representatives of different spheres of creativity of the period. The methodological basis of this study is a comprehensive approach, which contains historical and cultural, stylistic, and holistic methods of analysis. The theoretical method acquires special significance among them, as it is aimed at identifying the principles of writing in various fields of art. The scientific novelty of this work is based on the originality of the generalized study of the phenomenon of "polyphony of consciousness". This phenomenon is being considered as an important manifestation of the aesthetics of constructivism, based on the examples of music, literature, theater, cinema, and fine arts. Such an understanding of the implementation of the polyphonic principles of writing in the context of such an artistic movement as constructivism is undertaken for the first time in Ukrainian musicology. Conclusions. Experiments and searches of the artists of the early twentieth century in the fields of expression, content, composition, and language that "provoked" the development of stylistic pluralism in all spheres of art, strengthened the role of polyphonic principles of writing, and, more broadly, artistic thinking. Polyphonic techniques find their place in the trends of the aesthetics of constructivism, going beyond the musical texture and penetrating into all kinds of art. Polyphony and its principle of combining self-developing lines, voices, and layers, was perhaps the most important means of artistic reflection of the contradictions of the world, as well as the direction of the search in the field of content and means of expression.
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Stangret, Paweł. "Cytat teatralny w twórczości Tadeusza Kantora." Colloquia Litteraria 7, no. 2 (November 20, 2016): 35. http://dx.doi.org/10.21697/cl.2009.2.02.
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A Theatrical Quotation in Tadeusz Kantor’s Oeuvre In my text I focus on the problem of a theatrical quotation. Such form of referring to previous statements is traced at the example of Tadeusz Kantor’s Wedding in a Constructivist and Surrealistic Manner. This spectacle, carried out by a group of students from Scuola d’Arte Drammatica in Milan perfectly presents the subject in question. Its core lies in a practical realization of theoretical concepts which have been expounded within a month’s lectures. Kantor demonstrated how to quote a poetics of historical theatrical movements in a theatrical play. The first phase of a theatrical quotation has to be the fulfilment of a quoting element – in the case of Tadeusz Kantor’s Milan project the idea is to create one’s own contemporary constructivism and surrealism. The Cracow artist achieves it by using his artistic oeuvre and also his theoretical rumination on the influence of these trends on the whole art of the past century (during his lectures which culminated in The Wedding... Kantor used to say that in Scuola d’Arte Drammatica he made a summary of the 20th century). The second phase of the quoting process in the theatre is becoming an inherent part of a formerly created tradition, reconstructed according to its own theoretical concepts. Kantor, while preparing a spectacle “in a constructivist and surrealistic manner” and showing it as cricotage – that is his own works of art, not merely a didactic workshop performance, describes himself as an artist. He shows that these literary trends are the most important for his artistic output. Moreover, he uses these two movements since in his view they dominated 20th century thinking of art and aesthetics. Hence, while quoting constructivism and surrealism, Kantor shows that artists’ concepts taken from these trends are still significant because they work in a stage experience, the evidence of which is the spectacle staged in Milan school in 1986.
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Zarembo, Liene. "ART DECO STYLE’S FEATURES IN THE TEXTILE WORKS OF DESIGNERS SONIA DELAUNAY AND PAUL POIRET." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 25, 2018): 530. http://dx.doi.org/10.17770/sie2018vol1.3388.
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Art Deco is an artistic term that stands for an elegant eclectic design style dating back to the 1920s. Style has affected virtually all industries, including architecture, fine arts, applied arts, interior design, industrial design, fashion and jewellery, as well as painting, graphics and cinema. Art Deco architecture and arts expanded on other movements - Constructivism, Cubism, Modernism, Bauhaus, and Futurism. Principles of Constructivism and Cubism are also used in contemporary textile patchwork and quilt. The aim of the paper: exploration of the features of Art Deco style in the textile works of 20th century designers - Sonia Delaunay and Paul Poiret. The methods of the research: exploration of theoretical literature and Internet resources, the experience of reflection.The research emphasizes Sonja Delaunay’s particular importance of textile works in the development of contemporary quilt in the 21st century.
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Hesser, James Francis. "Personal Perspectives on Constructivism in a High School Art Class." Art Education 62, no. 4 (July 2009): 41–47. http://dx.doi.org/10.1080/00043125.2009.11519028.
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Redfern, Nick. "Realism, Radical Constructivism, and Film History." Essays in Philosophy 7, no. 2 (2006): 187–99. http://dx.doi.org/10.5840/eip2006724.
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As a technology and an art form perceived to be capable of reproducing the world, it has long been thought that the cinema has a natural affinity with reality. In this essay I consider the Realist theory of film history out forward by Robert C. Allen and Douglas Gomery from the perspective of Radical Constructivism. I argue that such a Realist theory cannot provide us with a viable approach to film history as it presents a flawed description of the historian’s relationship to the past. Radical Constructivism offers an alternative model, which requires historians to rethink the nature of facts, the processes involved in constructing historical knowledge, and its relation to the past. Historical poetics, in the light of Radical Constructivism, is a basic model of research into cinema that uses concepts to construct theoretical statements in order to explain the nature, development, and effects of cinematic phenomena.
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Weisenfeld, Gennifer. "Mavo's Conscious Constructivism: Art, Individualism, and Daily Life in Interwar Japan." Art Journal 55, no. 3 (1996): 64. http://dx.doi.org/10.2307/777767.
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Markovskyi, Andrii. "PARALLELS OF GERMAN AVANT-GARDE ARCHITECTURE AND DEVELOPMENT IN KYIV." Current problems of architecture and urban planning, no. 58 (November 30, 2020): 302–13. http://dx.doi.org/10.32347/2077-3455.2020.58.302-313.
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The article presents a comparative analysis of some key objects of German and Kyiv architecture of the early twentieth century to determine the corresponding trends. Parallels and identities are shown and noted. An analysis of the background and context is given, as well as the author's conclusions of the respective styles. In particular, German Werkbund, international Art Nouveau, Ukrainian architectural Art Nouveau, "New Objectivity", Bauhaus, functionalism, constructivism, post-constructivism, German and Soviet neoclassicism are mentioned.
Were analyzed in detail: The Fagus Factory (1910-1911) by Walter Gropius and Adolf Meyer, Centennial Hall (1911-1913) by the Max Berg, the Kyiv district power plant (named after Stalin), (1926–1930) by Mikhailo Parusnikov with the participation of George Goltz and Andrey Burov, Rolit (1932) by Vasul. Krychesky, Ehrentempel (1933–1936) and The Haus der Kunst in Munich (1933 - 1937) by Paul Ludwig Troost, competitive proposals for the construction of the Government Quarter in Kyiv (1934 - 1935) and the hotel within the Government Quarter (1939). Mentioned Esposizione Universale Roma (EUR) by Marcello Piacentini, projects by Albert Speer and others.
The article summarizes a series of author's researches devoted to a detailed analysis of international context and parallels of Kyiv architecture which is represented in the background of the consistent artistic transitions (from eclecticism and historical reminiscences to modernism, from Art Nouveau to avant-garde, from constructivism to Soviet neoclassicism and, finally, from Stalinist empire to modernism).
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Umam, Khotibul. "Analisis Kritis Terhadap Penggunaan Media Sosial Aksera Surabaya." KANGMAS: Karya Ilmiah Pengabdian Masyarakat 5, no. 2 (July 15, 2024): 78–83. http://dx.doi.org/10.37010/kangmas.v5i2.1609.
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Works of art are born from emotional impulses based on the worldview and interests of society that are passed down through generations. Fine art is related to the expression of beauty, entertainment, communication, skills, and hygiene. Fine art is an inseparable part of people's lives with various types that fulfill each individual's artistic taste. However, the era of technology and globalization has had an impact on the shift in art and cultural values. This research tries to analyze, explore the facts to what images and opinions occur on Aksera Surabaya's social media accounts. This research uses a constructivism criticism approach. The constructivism paradigm has the view that social life is not a natural reality, but a reality formed from the results of construction. This research uses the framing analysis method to find out and analyze the communication style and branding on Aksera Surabaya's social media. The results showed that Aksera Surabaya's social media did not maximize the existing features, such as Instagram Live, Reels music, and tags in Instagram posts. Through constructive criticism, this research provides solutions for content improvement and strategies for using social media, so that Aksera Surabaya's fine arts activities are better known publicy.
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Majewski, Piotr. "Constructing the canon: exhibiting contemporary Polish art abroad in the Cold War era." Ikonotheka, no. 30 (May 28, 2021): 135–53. http://dx.doi.org/10.31338/2657-6015ik.30.7.
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The article focuses on the attempts of constructing and presenting the canon of Polish modern and contemporary art in the West after World War II. Initially, the leading role was played by Colourists – painters representing the tradition of Post-Impressionism. After 1956 the focus shifted towards artists who drew in their practice on tachisme and informel. However, the most enduring effects brought the consistent promotion of the interwar Polish Constructivism and its postwar followers. The article discusses the subsequent stages of this process, from the famous exhibition at the Paris Galerie Denise René in 1957, through exhibitions such as Peinture moderne polonaise. Sources et recherches (Modern Polish Painting. Sources and Experiments) from the late 1960s, up to the monumental Présences polonaises (Polish Presences) from 1983 (both in Paris), showing that these efforts contributed to securing a permanent position of Polish Constructivism within the global heritage of 20th-century art.
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정은영. "Reconstructing the Historical Avant-garde: Art and Politics in Constructivism and Surrealism." Journal of History of Modern Art ll, no. 34 (December 2013): 179–208. http://dx.doi.org/10.17057/kahoma.2013..34.008.
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Łukasiewicz Alcaraz, Aleksandra. "Architecture as a paradigm of art of Aleksandr Rodchenko. Contexts of constructivism." Nowa Krytyka 34 (2014): 247–61. http://dx.doi.org/10.18276/nk.2014.34-13.
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Li, Zhuofan. "The influence of contemporary art thinking on modern architectural design." Highlights in Art and Design 1, no. 1 (September 13, 2022): 7–9. http://dx.doi.org/10.54097/hiaad.v1i1.1561.
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Contemporary art is a broad category in terms of time. Many masters and schools of art, such as Cézanne, the father of modern art, Gauguin and Picasso of Expressionism, have had a key influence on the development of art, and art has begun to move towards borderlessness. The opening of the Crystal Palace International Exhibition in 1851 broadened people's horizons, and the Crystal Palace was special because it was the world's first large building built with metal and glass, and a beacon pointing to the future of architectural design. From Cubism, Constructivism and Bauhaus in early modernism, modern architectural design has undergone a change from cumbersome and complex to simple and intuitive, and has developed again under the influence of contemporary art trends.
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Popova, Alexandra V. "ROMANTICISM AND CONSTRUCTIVISM IN THE POLISH THEATRE OF 1920-1930S." Articult, no. 2 (June 2024): 30–40. http://dx.doi.org/10.28995/2227-6165-2024-2-30-40.
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In the 1920-1930s, Polish theatre was experiencing a turn to new comprehension of the practice of stage space organization – the art of scenography was developing. It replaced the practice of creating theatrical decorations for garnishing the play and constituting the background for the action. The new scenography declared itself to be an art of the stage space composing. The development of new theatrical practice was influenced by constructivist spatial and rhythmical perception of environment, which Polish artists were improving in close cooperation with avant-garde architects. A similar approach to the stage design is common for the whole European theatre in the first decades of XX century, however the distinction of theatrical avant-garde in Poland came out as a special reference of the culture to its past and in particular to the romanticism heritage. Polish theatrical avant-garde, which came at restoration of independence time, was developing on overlap of the national myth and new unexplored freedom. Artists of the first half of XX century managed to disengage from the romantic myth only in some measure, but instead of resetting the national heroes and their heritage from the ship of modernity they turned to search for the new forms to embody that matter. The article reviews Polish theatre of the 1920-1930-s in the context of Polish romantic tradition on the one hand and constructivism, promoted by new avant-garde artist collectives – on the other. As an example of integration of two movements, a brief description of the unique project of Simultaneous theatre, created by stage designer Andrzej Pronaszko and architect Szymon Syrkus is given.
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Pelše, Stella. "REFLECTION OF THE PROLETARIAN ART IN THE LEFT-WING PERIODICALS OF THE INTERWAR PERIOD IN LATVIA." Culture Crossroads 8 (November 13, 2022): 169–78. http://dx.doi.org/10.55877/cc.vol8.175.
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In the left-wing magazines of the 1920s and 1930s, the visual art has been analysed from variously emphasised left-wing positions; even though, on the whole, literature seemed to be a more important weapon in the ideological battle. “Laikmets” (“Epoch”) (1923) was the least politicised periodical, advocating active, modern art opposed to stagnant bourgeois traditions, and promoting, for instance, the activism of author Andrejs Kurcijs, which was related to the ideas of the French purism. “Domas” (“Thoughts”) (1912–1915; 1924–1934) was a more long-lived periodical, aspiring to be a sophisticated culture magazine with more elaborate essays, such as Kurcijs’s draft for his publication “On Art” and the article “The Sociology of Creativity” by literary scholar Pēteris Birkerts. The highlights of the magazine “Trauksme” (“Alert”) (1928– 1929) included the statement by poet Pēteris Ķikuts about constructivism being more akin to the expressionists’ depth than to the impressionists’ superficial sliding over the surface of life. In “Signāls” (“Signal”) (1928–1930), a publication which was social- democratic in orientation, Voldemārs Branks wrote about art, inspired by the ideas of Leo Tolstoy and Hippolyte Taine, as well as emphasising the importance of the content and the accessibility of art. On the other hand, magazine “Kreisā Fronte” (“Left Front”) (1928–1930), edited by Linards Laicens, was related to the Russian constructivism by calling for the abandonment of the visual art in the name of producing useful things. The coexistence of modernistic, realistic and utilitarian versions echoed the Russian and European art processes of the time with the rehabilitation of mimetic traditions and ideologically motivated discrediting of the avant-garde. With the establishment of the Latvian authoritarian regime in 1934, the era of the leftist magazines in Latvia, which revealed the controversial attempts to display a more progressive outline of art, came to an end.
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Akhmadullin, Mars L., Elza E. Purik, Marina G. Shakirova, and Vilur R. Shakirov. "Влияние конструктивизма на дизайн башкирских национальных печатных изданий 20-х – начала 30-х гг. ХХ в." Oriental Studies 14, no. 2 (July 20, 2021): 259–74. http://dx.doi.org/10.22162/2619-0990-2021-54-2-259-274.
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Introduction. The article discusses the features of Bashkiria’s printed matter as of the 1920s–1930s through the lens of typographics and artistic design. Goals. The work analyzes design patterns, features of font compositions, and identifies the influence of Constructivism on the shaping of their stylistic essentials through specific examples of book covers, magazines, and posters published in the 1920s–1930s in the Republic of Bashkortostan. The authors show how the synthesis of European trends and national traditions of Arabic writing determined the originality of the then Bashkortostan’s graphic designs. Results. The article shows how the ornamental character of Arabic script was transformed into dynamic compositions of covers and title pages characteristic of Constructivism. Conclusions. Nowadays, the public are again trying to outline ways to develop the national book art. Therefore, the experience and traditions from the printing art of early 20th-century Arabic and Cyrillic editions are again in demand. Nobody doubts the significance and greatness of the national cultural heritage, the need to develop it, the need to understand what happened through the prism of national consciousness. The appeals to artistic and aesthetic ideas, creative experiments of the Russian hinterland, traditions that existed in other republics and peoples at the beginning of the 20th century do enrich the history of domestic graphic design. All these together serve sources of inspiration for contemporary art experts, book artists and design practitioners.
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Badiou, Alain. "From the modern to the contemporary: Art, or the possibility of the impossible." Art & the Public Sphere 11, no. 2 (November 1, 2022): 153–62. http://dx.doi.org/10.1386/aps_00076_1.
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This article asks the fundamental philosophical question concerning contemporary art: what is contemporary art? The distinction between modern and contemporary art is defined as internal to modern art, with the logic of rupture inherent to modernity. With modernity in art, three possibilities arise: constructivism, abstraction and non-art. After this, all contemporary art is either self-critical, formal or revolutionary. Through subtraction and formalization, contemporary art negates reality through local experiments that function at an abstract level of symbolization, making visible the real that is specific to every work of art and that creates a new place in the world. This experimentation effects a displacement within the sensible, creating a displacement between the possible and the impossible. Not unlike politics, art displaces a place in which it installs the formal promise of a new world. However, unlike politics, art provides a provisional respite through its ability to displace the laws of the world without ever promising to topple the world. Four maxims are proposed that define a contemporary meta-aesthetic ethos of anticipation that is not on the order of politics.
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Utomo, Ario Bimo. "Reimagining City Identities in Globalisation: A Constructivist Study on City Paradiplomacy." Global South Review 1, no. 2 (September 4, 2020): 33. http://dx.doi.org/10.22146/globalsouth.54362.
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The study of diplomacy has encountered a new turn when the concept of parallel diplomacy, or paradiplomacy, was introduced to the mainstream. The concept itself can be defined as the international agency of sub-national political entities. The logic behind this is that globalisation has given a channel for the local entities to further their interests amidst the prevailing state-centric international system. In the International Relations scholarship, this issue can be viewed through three lenses: realist, liberalist, and constructivist. This article will use constructivism whose idea argues that paradiplomacy contains identity-seeking undertones beneath, where sub-national entities can reimagine their positions in globalisation. The constructivist lens offers more advantage in seeing paradiplomacy beyond activities which are mainly driven by free-trade. This paper attempts to use the constructivist lens of paradiplomacy in exploring how cities can construct their identities in globalisation. There has been a quite extensive literature on constructivist perspective on paradiplomacy, yet many of them are focused on secessionist case studies instead of cities as regular sub-national units which pose no threat to their host states. This article argues that identity creation in city paradiplomacy is possible and particularly essential to cities located in developing countries seeking partnerships with the more developed regions. In doing the research, the author utilises secondary sources through the existing studies on paradiplomacy and city identity in globalisation to keep up with the current state of the art.
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PISAREV, ALEXANDER А., and ANASTASIA V. ALEKHINA. "Art&Science and Posthumanism: Technoscience, Aesthetics and Body." Art and Science of Television 19, no. 3 (2023): 43–67. http://dx.doi.org/10.30628/1994-9529-2023-19.3-43-67.
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The article is devoted to the conceptual and aesthetic connections between Art&Science and posthumanism. In their interpretation of posthumanism, the authors start from Michel Foucault’s thesis that “man would be erased, like a face drawn in sand at the edge of the sea,” showing how posthumanism problems follow from this idea. At the center of posthumanism is the realization that man and nature are the material-discursive products of a technoscientific network consisting of human and non-human actors. This network is considered in Science and Technology Studies (STS), which serve as a bridge between posthumanism and Art&Science. Therefore, the authors turn to STS to present Art&Science through their lens. They briefly introduce the thesis of ontological constructivism about technoscience as the enactment of natural realities. Art&Science, with its laboratory-technical aesthetics, is interpreted here as a performance or enactment of technoscience itself as a heterogeneous network producing natural realities. This brings scientific art closer to posthumanism. Further, the authors focus on how Art&Science works with the posthumanistic problems of the body, analyze strategies and examples of its development in art projects, and show that the projects of this art belong to the aesthetics of the posthuman. In conclusion, some limitations of Art&Science’s interaction with posthumanistic issues are discussed.
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Boelsbjerg, Hanne Bess, and Carlo Leget. "Art of Spiritual Care." Tidsskrift for Forskning i Sygdom og Samfund 20, no. 38 (June 20, 2023): 71–86. http://dx.doi.org/10.7146/tfss.v20i38.131917.
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The article defends the position that providing spiritual care first and foremost is an art in which tools and instruments are subordinate to practical knowledge, experience, and wisdom of the phenomenon.
A growing number of instruments and tools for spiritual care have been developed, tested, and validated. Some have been designed for the purpose of doing research, others have been developed for the practice of spiritual caregiving. These instruments and tools have impact both on the way we provide spiritual care, and the way we look upon spiritual care. Behind these developments are different views about what counts as scientific knowledge, as the methodologies used are based in such different paradigms as natural sciences, social constructivism, and phenomenology. The methodology used impacts how spirituality and spiritual care are viewed, as a methodology shapes our understanding of the object which is studied.
When viewing spiritual care as an art, we base this on an understanding of spiritual care as a dynamic and relational phenomenon. To support this perception, the article structures its arguments on the following elements:
1) The hermeneutic nature of spiritual caregiving 2) The role of the practice of spiritual caregiving 3) The nature of tacit and intuitive knowledge. The article bridges these arguments by providing empirical examples from spiritual care providers in Denmark.
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Будник, А. В. "ЮРІЙ КРИВДІН – МАЛОВІДОМЕ ІМ’Я УКРАЇНСЬКОГО ГРАФІЧНОГО ДИЗАЙНУ 1920–30-х рр." Art and Design, no. 4 (February 15, 2021): 60–69. http://dx.doi.org/10.30857/2617-0272.2020.4.4.
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Purpose: organize and analyze the legacy of a little-known artist, make an attempt to collect biographical data, trace the relationship of creative principles with world trends in graphic design of that period. Methodology. Historical-comparative and art-scientific methods of analysis were used for the research. Results. During the 1920s and 1930s, Ukrainian magazine graphics underwent a final transformation from the aesthetics of modern and eclecticism to the style of constructivism, which called for the work of masters of a new type of graphic thinking, such as Yuriy Kryvdin. The investigation for the first time analyzed the activities of a little-known representative of Ukrainian constructivism – Yuriy Kryvdin, who worked in the field of magazine graphics and layout, collage, book design. The influences of world tendencies of graphic design on creativity of the master, typology of imitation are investigated. Samples of the artist's autographs were collected and the publishing spheres to which the artist made efforts were systematized. His literary activity and its connection with artistic creativity are briefly reviewed. Scientific novelty.As for Kryvdin, there was no art criticism in the professional literature. For the first time, the sources that influenced the creative style of the master are highlighted, as well as the spheres of his activity are systematized. Practical significance. With the development of Ukrainian culture in the paradigm of an independent state, the importance of opening the little-known pages of the formation of national design, which gave the foundation of modern art.
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Юматова and T. Yumatova. "Basic Concepts of Modern Representational Drawing School." Socio-Humanitarian Research and Technology 2, no. 4 (December 3, 2013): 19–21. http://dx.doi.org/10.12737/2116.
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The basic concepts of the modern higher school of graphic drawing for a
long time have been a central issue in the training of academic drawing. This article
discusses two lines: Russian and Western European art pedagogy of the turn of XIX–
XX century. A number of common features can be noted, which are peculiar for these
artists. Proclaiming the nature as the basis of art — Ažbe, Hollósy and Chistyakov,
sought to develop scientific, analytical method of the form image. They set the task to
use in their methods and achievements of contemporary art the main directions of the
XX century, as cubism, constructivism, etc.
And although everyone solved this problem in its own way, their analytical focus on
revealing the laws of art in nature was general.
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Alliez, Éric. "Ontology of the Diagram and Biopolitics of Philosophy. A Research Programme on Transdisciplinarity." Deleuze Studies 7, no. 2 (May 2013): 217–30. http://dx.doi.org/10.3366/dls.2013.0103.
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In this article, the diagram is used to chart the movement from Deleuze's transcendental empiricism and engagement with structuralism in the 1960s to Deleuze and Guattari's ethico-aesthetic constructivism of the 1970s and 1980s. This is shown to culminate in a biopolitical critique and decoding of philosophy, which is part of the unfolding of a transdisciplinary research programme where art is seen to come ontologically ahead of philosophy.
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Häßler, Miriam. "Moscow Merz and Russian Rhythm." Experiment 23, no. 1 (October 11, 2017): 117–26. http://dx.doi.org/10.1163/2211730x-12341305.
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Abstract The Erste Russische Kunstausstellung [First Russian Art Exhibition] of 1922 was a remarkable event not only for Berlin’s art lovers at that time, but also for the history of twentieth century art. Held at Galerie van Diemen, the show gave a comprehensive overview of Russia’s artistic achievements from late Tsardom to the Russian Civil War. Of all styles in the exhibition, the non-objective art movements of suprematism and constructivism provoked the greatest sensation among the visitors, many of whom were Western artists. Relating Russia’s variations of non-objectivity with their—assumed—political notions, Western modernists reacted in various ways. This article aims at tracking the long-lasting vestiges of the Erste Russische Kunstausstellung in the personal and artistic developments of two key-figures of Germany’s modern art scene: Kurt Schwitters and Hans Richter. While the role of El Lissitzky, who designed the catalogue’s cover, has already been canonized, this article wants to highlight lesser-regarded aspects.
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Gintere, Ieva. "A NEW DIGITAL ART GAME: THE ART OF THE FUTURE." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 21, 2019): 346. http://dx.doi.org/10.17770/sie2019vol4.3674.
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The task of this study is to create an innovative digital art game of contemporary aesthetics on the basis of research. Research implies the analysis of digital art games and the historical background of their aesthetics, as well as their classification following the stylistic trends. Digital games have a great potential to integrate people into fields that would otherwise not meet their interest. The new game would develop the creative skills of players and teach them the current trends in digital art. The game would project the inheritance of art from the age of modernism into the digital world by teaching the player to recognize it (for instance, pixel aesthetics is a successor to cubism and constructivism). The new game will let its user play around with the trends in digital art such as vaporwave, glitch and others, and to create new ones. Thus, it would deal with the problem of knowledge cache and cultural segregation that characterizes modern art: being an esoteric subject to a great extent, it is difficult to access a large segment of the public. The aim of this study is to raise the interest of a wide-ranging public for contemporary art and to point out the newest creative tendencies in art. The paper presents an overview of digital art games, introduces a novel term, vaporwave, that has not been registered in the art game discourse so far, and offers an updated definition of the art game. The Design Science Research method is used in order to cross-cut such remote fields as the general public and the arthouse world, codes of modern art and the taste of the general public.
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Shik, Ida A. "POST-AVANT-GARDE PORCELAIN OF THE LATE 1920S – THE FIRST HALF OF THE 1930S AND POLITICAL PROPAGANDA ISSUES." Articult, no. 3 (September 30, 2023): 20–33. http://dx.doi.org/10.28995/2227-6165-2023-3-20-33.
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Soviet porcelain of the late 1920s – the first half of the 1930s was an integral part of Stalin’s “propaganda for happiness” by means of artistic culture. Porcelain artists interpreted the themes of industrialization, the development of agriculture, the army and navy, “great construction projects”, northern expeditions and the industrial development of the Arctic, the Soviet East, the cultural revolution, sports in optimist manner typical for official aesthetic and propaganda discourses. Nevertheless, the porcelain of the late 1920s and the first half of the 1930s appropriated the ideas of Suprematism, Constructivism, Cubo-Futurism and Art Deco, the pictorial imitation of collage, as well as the combination of visual and verbal principles through the addition of inscriptions, inherited from propaganda porcelain. Artists often preferred generalized forms, used bright, contrasting colors, aimed to concise color (only several paints), graphic and some conventionality. Works of the late 1920s and early 1930s often corresponded with the porcelain of the first post-revolutionary years, reproducing its visual codes. It’s important to note the integration of images of modern, in particular, constructivist architecture, into thematic porcelain compositions.
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CHECHIK, Valentina. "VADIM MELLER’S ART: ON THE WAY TOWARDS CONSTRUCTIVIST ABSTRACTION." HUDPROM: The Ukrainian Art and Design Journal 2023, no. 1 (June 30, 2023): 128–39. http://dx.doi.org/10.33625/hudprom2023.01.128.
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This article discusses the features of the refraction of the techniques and principles of abstract art in V. Meller’s early works. The research field comprised both widely known and completely unknown artist’s easel works and theatrical projects from the late 1910s to the early 1920s. The stylistic vocabulary of Meller’s works of this period in art history literature is rightly associated with CuboFuturism. At the same time, it is easy to see how the artist reaches the borders of Cubo-Futurist thinking – to abstract compositions. In the painting Futuristic Composition (1919–1920), and in the theatre sheets for B. Nijinska’s ballets (1918–1921), and for the plays (Maitre Patlin (1919) and Mazepa (1922)), the revealing of the rhythmic architecture of structural elements (color geometry such as circles, arcs, pointed triangles, and trapezoids), and means of their dynamic development are directly linked to the plastic laws of abstract art. Each of these works is a compositional experience. The artist builds the composition on the dominance of color and form, their plastic, rhythmic and semantic potential. At the same time, by “deobjectifying” a pictorial motif to an ornamental formula, the artist does not completely cancel the real form but leaves open the possibility of its returning to the material world. The same principles of form constructing are retained in the pictorial Sketch to the Portrait exhibited together with Portrait of T. Shevchenko at the 2nd Report Exhibition of the Ukrainian Academy of Arts (1921). The plastic codes of abstract art saturated V. Meller’s stage design for the early Berezil productions of 1923. Despite the use of K. Malevich’s Suprematist vocabulary in the stage backdrops for the production of R.U.R., A. Exter’s art and the language of her lyrically expressive and dynamic abstractions have always remained a source of creative inspiration. This was precisely the kind of composition V. Meller, transferred into the three-dimensional space of the stage in the production of Gas (1923). Its scenography marked the inner logic and independence of the artist’s movement towards subsequent structural-linear spatial modules (The New Ones Are Coming (1923)), which designated a brilliant period of “orthodox” theatrical constructivism on the Ukrainian stage.
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Clark, Jonathan Owen. "Aesthetic Experience, Subjective Historical Experience and the Problem of Constructivism." Journal of the Philosophy of History 7, no. 1 (2013): 57–81. http://dx.doi.org/10.1163/18722636-12341244.
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Abstract This article takes as its starting point the recent work of Frank Ankersmit on subjective historical experience. Such an experience, which Ankersmit describes as a ‘sudden obliteration of the rift between present and past’ is connected strongly with the Deweyan theory of art as experiential, which contains an account of aesthetic experience as affording a similar breakdown in the polarization of the subject and object of experience. The article shows how other ideas deriving from the phenomenological tradition and the philosophy of perception can fruitfully be applied to the same terrain, and an account of aesthetic experience is built up that stresses embodied, differential and virtual aspects in the perception of aesthetic objects. The disruption and/or enhancement of these aisthetic aspects of perception, coupled with the self-conscious reflection thereby occasioned, is put forward as an account of aesthetic experience that links Ankersmit’s ideas with those of others, and a critical reading is made of a section of Ankersmit’s Sublime Historical Experience that centers on his experience of a painting by Francesco Guardi. The final section aims at strengthening aspects of Ankersmit’s ideas and renews his critique of the radical constructivism of Oakeshott.
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Shkolna, Olga, Olga Sosik, and Alla Buigasheva. "Stylistics of Ukrainian Fine Art, Architecture and Design in the Second Half XIX – Early XXI Centuries’ Period." Demiurge: Ideas, Technologies, Perspectives of Design 4, no. 2 (December 13, 2021): 291–98. http://dx.doi.org/10.31866/2617-7951.4.2.2021.246856.
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The aim is to explore the key concepts of stylistics of Ukrainian fine arts, architecture and various types of design of the second half of the XIX – early XXI centuries in the relationship of individual fields of knowledge. Research methods – hermeneutic, axiological, historical-genetic, historical-chronological, comparative, culturological, formal-stylistic, art analysis. The selected tools allow you to compare the stylistic features of different types of design (industrial, graphic, clothing, environment), fine arts and architecture. A novelty is an overview of evolutionary processes in terms of styles in painting, graphics, architecture, various types of design activities (in particular, environmental design, industrial, graphic, clothing). The points of intersection of the conceptual and categorical sphere of the indicated branches of creativity are outlined, both common and different tendencies concerning the identification of stylistic features are observed. Conclusions. The differences of separate branches of knowledge of artistic creativity and common features of some types of design-designing, -construction, -modeling, art technologies bordering on graphic art and painting (graphic design, partly industrial design), architecture (environmental design and partly industrial design) are traced.
Since the era of modernism, art deco, avant-garde, constructivism, functionalism, Stalin’s empire, which affected all forms of artistic activity, in the late twentieth – early twenty-first century established the classic, minimalism, high-tech, fusion, low-tech, shabby chic, provence, glamour, some oriental stylizations in the interior associated with architecture. Instead, clothing design, in addition to the classics, over the past few decades has creatively adapted the sports-classic style, manga, country, western, boho, military, glamour and etc. over the past few decades.
If the shapes of the silhouettes of the cut look at the general tendencies of industrial design, the drawings of fabrics partially appeal to the visions of graphic design, which are related to the tendencies of fine arts – tendencies of modernism, avant-garde, postmodernism. Namely, they tend to functionalism, constructivism, boychukism, art deco, socialist realism, Stalinist empire, Ukrainian soviet empire, neo-functionalism, neo-primitivism, neo-folk style, polystylism, glamour.
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Joohee, Kang and 이지연. "Meaningful approaches to understand contemporary art based on both aesthetic development theory and constructivism theory." Journal of Art Education 33 (December 2012): 1–24. http://dx.doi.org/10.35657/jae.2012.33.0.003.
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Levinger, Esther. "Art and Mathematics in the Thought of El Lissitzky: His Relationship to Suprematism and Constructivism." Leonardo 22, no. 2 (1989): 227. http://dx.doi.org/10.2307/1575236.
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