Suchergebnisse

The article examines multisensority as a different approach to experiencing art. Contemporary art expands the range of conventional means of expression and turns to the non-visual for greater impact. Inspired by the interrelationship of science – technology – art, multisensory art is a challenge to all the senses. Some of its manifestations are explored, which could shed light on its nature. Discussion questions are raised, both about the aesthetic value of this type of art, and about the possibilities it provides for education.

The purpose of the article is to identify the influence of modern digital technologies on the creation of works of fine art. The research methodology is the application of general scientific and special research methods determined by the artistic paradigm. The scientific novelty of the study lies in understanding the specifics of creating works of fine art with the help of modern digital technologies, taking into account their interactivity, network communication, and virtuality. The conducted analysis shows the rapid spread of digital technologies and the expansion of the artistic orientation in the creative activity of artists, which has led to the formation of a new generation of digital art consumers and is one of the important areas of research into the current transformations taking place in the field of culture and art. Conclusions. Digital technologies and fine arts are undoubtedly in constant dynamic development and interaction today, and are actively used by artists in their work. Digital technologies are a means of modelling and demonstrating laws and the basis of artistic, scientific, and technical creativity, which significantly affect the formation of form, ensuring the composition and perception of the work and are one of the means of creating the latest works of fine art. With the help of digital technologies, artists manage to convey more accurately the idea of the work, make it understandable to the maximum number of viewers. Moreover, it is important to note that it is not entirely correct to determine the value of works of fine art created by traditional or digital means. A contemporary artist determines the means of creating the work itself (using the traditional means of pencil and brush, or using a sequence of sticks and zeros), and there is also the possibility of combining traditional art with technological innovations. The author emphasises that artificial intelligence in terms of independent creation of works of fine art today looks too bold and very controversial.
Key words: fine art, digital technologies, modern art, artificial intelligence.

This chapter discusses the history of bicycle art, examining how artists from the early twentieth century onwards have used the bicycle as a device for exploring issues of identity, injustice and inequality. The discussion considers work by a number of artists from around the world, but the principal case studies are contemporary artists Ai Weiwei and Rainer Ganahl. This chapter examines the way these artists have used the bicycle as the symbolic device through which to explore questions of contemporary capitalism and technology, political repression and freedom of movement, economic inequality and nationhood, as well as masculinity, sexuality and individual identity. Both artists have also used the bicycle as a tool with which to make art in a variety of media, and this chapter argues that their work invites us to reflect upon cycling cultures and the bicycle's transformative political potential as a device that enables us to see and experience the world differently.

The triad of decline-metamorphosis-rebirth constantly reappears in the history of civilisation, it is current in all historical periods and cultural environments, in different areas and the most diverse contexts. Its manifestations are countless and the same is true of its interpretations. They are especially frequent in the area of art, because the evolutionary model, grounded in the idea of cyclic development comes very handy for explanations and illustrations which seek to present complicated things in a simple and clear way. The history of art, mainly in the 19th century, advocated a tripartite development of art which seeks greater perfection and maturity and reaches its peak just to be then inevitably followed by a decline in artistic originality and power. Already for some time now the evolutionary model has been shown too ineffective in addressing scholarly questions, especially due to oversimplification and a priori classification of subject matter which cannot possibly be classified. The perception that the art of the Early Renaissance was a preliminary period for more mature and accomplished achievements of High Renaissance which at some point began to lose its drive and went into decline either by repeating outmoded forms or their decomposition, is not only naive, but simply wrong and represents a misunderstanding of the essence of art. In much the same way it would be equally wrong to label in advance the early works of a certain artist as not-mature-yet or possessing less artistic authenticity.

Cover -- Half Title -- Title Page -- Copyright Page -- Original Title Page -- Original Copyright Page -- TRANSLATOR'S PREFACE -- Table of Contents -- PREFATORY ESSAY BY THE TRANSLATOR -- CHAPTER I. THE RANGE OF ÆSTHETIC DEFINED, AND SOME OBJECTIONS AGAINST THE PHILOSOPHY OF ART REFUTED (37-61) -- [a. Æsthetic confined to Beauty of Art -- β. Does-Art merit Scientific Treatment? -- γ. Is Scientific Treatment appropriate to Art? -- δ. Answer to β -- ԑ. Answer to γ.] -- CHAPTER II. METHODS OF SCIENCE APPLICABLE TO BEAUTY AND ART (62-78) -- [1. Empirical Method-Art-scholarship -- (a) Its Range