Suchergebnisse

Vrouwelijke kunstenaars zijn vaak in de vergetelheid geraakt of in de schaduw gebleven van 'de grote meesters'. Immers, de kunstgeschiedenis is hoofdzakelijk gericht op 'dead white male artists'. Het is nog steeds overduidelijk zijn verhaal (his story) dat de canon van de kunstgeschiedenis bepaalt. Vandaag de dag is er nog steeds geen sprake van gelijkwaardigheid tussen mannelijke en vrouwelijke kunstenaars. Zolang wij uitsluitend de traditionele canon der (kunst)geschiedenis voorgeschoteld krijgen, blijft de geschiedenis er een van helden en overwinnaars, van oorlogen en rooftochten. Ook de mythe van het 'oerpatriarchaat' wordt dan in stand gehouden. In dit boek ontrafelt kunsthistorica Karin Haanappel deze mythe. Zij laat ons een heel andere wereld ervaren, een wereld waarvan ook vrouwen deel uitmaken en waarin niet-westerse en prehistorische culturen eveneens van belang blijken te zijn

The article is devoted to one of the directions of the art of post-modernism - street art, which became widespread in Kharkiv at the turn of the 20th - 21st centuries. This type of modern art quickly won the sympathy of city residents and found its supporters in a large group of young innovative artists (both professionals and amateurs, both individual authors and creative teams) who work in this style. The creation of murals quickly transformed from spontaneous work to managed by the city government, which supported this kind of change in urban decor. Kharkiv street art has come a long way in its formation: from the mysterious inscriptions of Oleg Mitasov to Ukraine's largest mural depiction of the poet Taras Shevchenko. The article highlights the procedure for creating a mural image. At the turn of the XX-XXI centuries the first mural portraits in Kharkiv were created spontaneously, outside of any general urban development plan. In recent years, first, the city architectural department, and then the Department of Culture of the Kharkiv City Council, took control of such works and such activities became more focused and planned. Artists come to the Department of Urban Planning and Architecture of the Kharkiv City Council with the initiative to create a mural on a particular house and provide its sketch. That is, the artists themselves choose the image that will be created. In order for such an image to be created, it is first necessary to coordinate this issue with the owners of the house on which the image is planned to be placed. At the same time, a problem arises as to who will support the drawing after its creation, because the money for its possible restoration by the city budget is not provided, and some of the murals already need updating. The most characteristic examples of this art in Kharkiv are considered, several of its types are distinguished. It is concluded that, in general, street art positively influenced the appearance of the city, which became more vivid and filled with new meanings and content. It is noted that murals and graffiti perform not only a decorative, but also a cultural and educational role. The main characters of Kharkiv murals are natives of the city and prominent figures who have made a significant contribution to world art, science and literature. ; Стаття присвячена одному з напрямів мистецтва постмодернізму – стрит-арту, який набув поширення в Харкові на межі ХХ–ХХІ ст. Цей вид сучасного мистецтва швидко завоював симпатії харків'ян і знайшов своїх прихильників серед великої групи молодих художників-новаторів (як професіоналів, так і любителів, як окремих авторів, так і творчих колективів), які працюють у цьому стилі. Створення муралів швидко перетворилося зі стихійної роботи на керовану з боку міської влади, яка підтримала подібні зміни міського простору. На межі ХХ–ХХІ ст. перші муральні портрети в Харкові створювались стихійно, без жодного загального містобудівного плану. Останнім часом спочатку міське архітектурне управління, а потім Департамент культури Харківської міської ради взяли під свій контроль такі роботи, і подібна діяльність стала більш керованою і планомірною. До Департаменту містобудування та архітектури Харківської міської ради звертаються художники з ініціативою створити мурал на конкретному будинку і надають його ескіз. Тобто художники самі вибирають образ, який буде створений. Для того, щоб таке зображення було створено, потрібно передусім узгодити це питання з власниками будинку, на якому планується розміщення зображення. При цьому виникає проблема в тому, хто буде підтримувати малюнок після його створення, адже гроші на його можливу реставрацію міським бюджетом не передбачаються, а частина муралів вже потребує оновлення. В статті розглянуто найбільш характерні зразки цього мистецтва в Харкові, виокремлено кілька поширених типів. Зроблено висновок про загалом позитивний вплив стрит-арту на зовнішній вигляд міста, яке стало більш яскравим і наповнилося новими смислами і змістом. Відзначається, що мурали і графіті виконують не лише декоративну, але й культурну роль. Головними героями харківських муралів є уродженці міста та видатні діячі, які зробили помітний внесок у світове мистецтво, науку та літературу.

In deze rubriek worden zowel methodologieboeken besproken als onderzoeksrapportages, bij voorkeur van Nederlandstalige auteurs. Auteurs krijgen de gelegenheid om op een recensie te reageren. Op de website www.kwalon.nl worden regelmatig boeken ter recensie aangeboden. Wie een boek wil bespreken (al dan niet uit dat aanbod), kan zich richten tot Irene Jonkers: i.jonkers@nyenrode.nl.

The word "show" has long and firmly established itself in the modern media space and our everyday life. The scientific discourse uses not only constant expressions like show business, but also fairly new ones, including show industry, show politics, show discourse, show civilization, show content, show didactics. All these "doubles" imply the active introduction of show technology into the relevant social-cultural spheres.Most researchers trace the show's historical path from ancient sights, and its biological prerequisites boil down to "social imprinting" — an innate tendency to copy the behavior broadcast by a leader. Let's agree that traditional sights have always shown a form of mass communication, and therefore directly related to the mass consciousness of the participant-viewer.Researchers choose different criteria to define the concept of "show": characteristic features of any spectacle in general, postmodern specificity, communicative component, sociocultural features, ontological dimensions. Such a panorama of approaches testifies not only to the magnitude and versatility of this phenomenon, but also to its deep penetration into all spheres of society. This is due to the show technology mentioned above.Undoubtedly, the leading broadcasting channels are television and the Internet, as they show the highest degree of visualization of retransmitted information. Even those art shows, which are filmed in stage (concert) conditions and are already spectacular in their origin, acquire in their screen embodiment new powerful features of interactivity, emphasized expressiveness.Show-technology, which allows to manipulate the attention of the viewer, involves the temporary distraction of the viewer from the pivotal, main theme due to the shift of emphasis towards minor elements, phenomena, events. Such clique of the show is determined by its structural fragmentation, a peculiar "injection of novelty" from everywhere, a kaleidoscopic impression, a constant violation of "unbreakable" rules. An interesting paradox is observed: in order to keep the viewer's attention, the show must always divert it from the bar to additional, parallel levels, but to do so with an increased degree of expressiveness. Such expressiveness is provided by media resources, using the maximum degree of visualization, outrageousness, sensationalism, simulation. In fact, a media frenzy, boom, information fever is created around people or events that do not attract attention by themselves.A successful, popular show becomes such because it shows the viewer unmet needs — in love, respect, self-esteem, involvement in social-cultural activity, awareness of belonging to a certain social group, self-expression, rest and entertainment, emotional relaxation — and satisfies them.In its highest manifestation, this "viewer orientation" turns into a powerful show-anchoring technology. This psychological term means a conscious or, more often, unconscious, installation that engages a person (the anchor itself), fixing in it a strong conditional reflex connection. In an art show, it is often a forced memorization of certain images or symbols, the repetition of which will cause the person a specific emotional response that the manipulator needs. It is clear that such anchoring makes it possible for the anchor viewer to control it further. Using powerful methods of psychological influence on the audience of the show, such as suggesting, imitating, pressure under the guise of persuasion, show technologies thus become a powerful means of shaping the viewer's worldview and perception, the leverage of manipulating his consciousness and affection.The whole set of show technologies (discussed above and others) in action can be represented as a conditional scheme of the process, the leading feature of which will be increased manipulability at each subsequent stage: information about — popularization — advertising — propaganda — information terror.The global penetration of show technology into almost all spheres of public life that we are witnessing today makes the scientific discourse around the phenomenon of showmanship possible.The fast pace of showmanship and the powerful activation of show production are explained by two interdependent factors: on the one hand, show technologies are aimed at manipulating the viewers and making certain changes in the minds of the communication subjects (through "addicting" the viewer to a particular TV show), on the other — the viewers themselves manipulate the makers of the television product in some way (with their interest, lively interactive participation, high viewing rating), stimulating the continuation of their favorite shows in the coming seasons and creating new ones. Such interdependence leads to the fact that the entertaining and hedonistic functions of the art show gradually lose their primacy, and the stage involves managing the consciousness of the viewers and the multi-vector manipulation of their interests and appraisals, emotions and mood, and in general — the public position. ; В статье рассмотрено экранное художественное шоу в контексте эстетических и коммуникативных приоритетов. Проанализирован научный дискурс понятий «шоу», «шоу-технологии», «шоуизация». Определена высокая степень манипулятивности современного шоу. ; У статті розглянуто екранне мистецьке шоу у контексті естетичних та комунікативних пріоритетів. Проаналізовано науковий дискурс понять «шоу», «шоу-технології», «шоуїзація». Визначено високу міру маніпулятивності сучасного шоу

The word "show" has long and firmly established itself in the modern media space and our everyday life. The scientific discourse uses not only constant expressions like show business, but also fairly new ones, including show industry, show politics, show discourse, show civilization, show content, show didactics. All these "doubles" imply the active introduction of show technology into the relevant social-cultural spheres.Most researchers trace the show's historical path from ancient sights, and its biological prerequisites boil down to "social imprinting" — an innate tendency to copy the behavior broadcast by a leader. Let's agree that traditional sights have always shown a form of mass communication, and therefore directly related to the mass consciousness of the participant-viewer.Researchers choose different criteria to define the concept of "show": characteristic features of any spectacle in general, postmodern specificity, communicative component, sociocultural features, ontological dimensions. Such a panorama of approaches testifies not only to the magnitude and versatility of this phenomenon, but also to its deep penetration into all spheres of society. This is due to the show technology mentioned above.Undoubtedly, the leading broadcasting channels are television and the Internet, as they show the highest degree of visualization of retransmitted information. Even those art shows, which are filmed in stage (concert) conditions and are already spectacular in their origin, acquire in their screen embodiment new powerful features of interactivity, emphasized expressiveness.Show-technology, which allows to manipulate the attention of the viewer, involves the temporary distraction of the viewer from the pivotal, main theme due to the shift of emphasis towards minor elements, phenomena, events. Such clique of the show is determined by its structural fragmentation, a peculiar "injection of novelty" from everywhere, a kaleidoscopic impression, a constant violation of "unbreakable" rules. An interesting paradox is observed: in order to keep the viewer's attention, the show must always divert it from the bar to additional, parallel levels, but to do so with an increased degree of expressiveness. Such expressiveness is provided by media resources, using the maximum degree of visualization, outrageousness, sensationalism, simulation. In fact, a media frenzy, boom, information fever is created around people or events that do not attract attention by themselves.A successful, popular show becomes such because it shows the viewer unmet needs — in love, respect, self-esteem, involvement in social-cultural activity, awareness of belonging to a certain social group, self-expression, rest and entertainment, emotional relaxation — and satisfies them.In its highest manifestation, this "viewer orientation" turns into a powerful show-anchoring technology. This psychological term means a conscious or, more often, unconscious, installation that engages a person (the anchor itself), fixing in it a strong conditional reflex connection. In an art show, it is often a forced memorization of certain images or symbols, the repetition of which will cause the person a specific emotional response that the manipulator needs. It is clear that such anchoring makes it possible for the anchor viewer to control it further. Using powerful methods of psychological influence on the audience of the show, such as suggesting, imitating, pressure under the guise of persuasion, show technologies thus become a powerful means of shaping the viewer's worldview and perception, the leverage of manipulating his consciousness and affection.The whole set of show technologies (discussed above and others) in action can be represented as a conditional scheme of the process, the leading feature of which will be increased manipulability at each subsequent stage: information about — popularization — advertising — propaganda — information terror.The global penetration of show technology into almost all spheres of public life that we are witnessing today makes the scientific discourse around the phenomenon of showmanship possible.The fast pace of showmanship and the powerful activation of show production are explained by two interdependent factors: on the one hand, show technologies are aimed at manipulating the viewers and making certain changes in the minds of the communication subjects (through "addicting" the viewer to a particular TV show), on the other — the viewers themselves manipulate the makers of the television product in some way (with their interest, lively interactive participation, high viewing rating), stimulating the continuation of their favorite shows in the coming seasons and creating new ones. Such interdependence leads to the fact that the entertaining and hedonistic functions of the art show gradually lose their primacy, and the stage involves managing the consciousness of the viewers and the multi-vector manipulation of their interests and appraisals, emotions and mood, and in general — the public position. ; В статье рассмотрено экранное художественное шоу в контексте эстетических и коммуникативных приоритетов. Проанализирован научный дискурс понятий «шоу», «шоу-технологии», «шоуизация». Определена высокая степень манипулятивности современного шоу. ; У статті розглянуто екранне мистецьке шоу у контексті естетичних та комунікативних пріоритетів. Проаналізовано науковий дискурс понять «шоу», «шоу-технології», «шоуїзація». Визначено високу міру маніпулятивності сучасного шоу