Genetic Criterion of Art

This study is an interdisciplinary investigation into the notion of place and, particularly, a sacred place. Disciplines such as Architecture, Philosophy, and Social Anthropology converge to explore the concepts of space, place, sacredness, genius loci, sacred architecture, and work of art, with particular reference to the cumbessias villages that represent important sites of popular religiosity in Sardinia (Italy). The analysis, which focuses on six of these villages mainly distributed in the central inland territory, has started from the premise that a sacred place, hence a cumbessias village, should be intended as a work of art. In this regard, we have welcomed and adopted the Heideggerian elaboration of the concept of 'place' together with that of 'work of art'. Places and works of art are both the outcome of a hermeneutical engagement, they are the result of a creative process. Yet, they are not inanimate objects but rather disclose a world of their own. The encounter between these worlds and the human creative agency disclose every time a new horizon of meaning nurturing both subjects of this relationship. We have been asking what kind of experience is lived by the people, the devotees, within these sacred places (i.e., cumbessias villages). Through what kind of process is this experience lived? And, eventually, what is the effect it produces on both the interlocutors, people and sacred places? Through the adoption of the Gadamerian metaphor of 'play' we have argued how the recurrent encounter between devotees and their sacred places (works of art) during the religious occasion of a novena is mutually constitutive on an existential level. It is precisely through devotees' complete participation in the alterity/otherness of the work of art or cumbessias village's own world that a so called 'enlargement of consciousness' and an increase of being/transformation can be achieved.

Dedicated to Marilyn Brakhage Before a work of art people who feel little or no emotion for pure form find themselves at a loss. They are deaf men at a concert. They know that they are in the presence of something great, but they lack the power of apprehending it. They know that they ought to feel for it a tremendous emotion, but it happens that the particular kind of emotion it can raise is one that they can feel hardly or not at all. And so they read into the forms of the works those facts and ideas for which they are capable of feeling emotion, and feel for them the emotions that they can feel-the ordinary emotions of life. When confronted by a picture, instinctively they refer its forms back to the world from which they came. They treat created form as though it were imitated form, a picture as though it were a photograph. Instead of going out on the stream of art into a new world of aesthetic experience, they turn a sharp corner and come straight home to the world of human interests. For them the significance of the work of art depends on what they bring to it; no new thing is added to their lives, only the old material is stirred. A good work of visual art carries a person who is capable of appreciating it out of life into ecstasy: to use art as a means to the emotion of life is to use a telescope for reading the news. You will notice that people who cannot feel pure aesthetic emotions remember pictures by their subjects; whereas people who can, as often as not, have no idea what the subject of a picture is. They have never noticed the representative element, and so when they discuss pictures they talk about the shapes and forms and the relations and quantities of colors. Often they can tell by the quality of a single line whether or not a man is a good artist. They are concerned only with lines and colors, their relations and quantities and qualities; but only from these will they win an emotion more profound and far more sublime than that can be given by the description of facts and ideas. - Clive Bell, from his book Art (Capricorn Books, 1958) The artist bending to the necessities of his/her creative process ought, for aesthetics' sake, eschew the strengths of the given medium. Every craft is best qualified to achieve a particular affect. Music most ordinarily presents human inward noises-the heart-at-beat, the nerves strumming-in-ear, the breath and all attendant throat-flute, glottal mucus slippage...the seepage of blood's pitch in veins, or breath's tone-cross-tongue and reverberations 'gainst dome of mouth, the inner snare-drum/trombone of yawn jaw's cartilage, the castanets of teeth, nasal wind hiss and moan, so forth (all noise approximate to the hairs of ear and inner ear's solitude). Painting presents perhaps a window, a cupboard of gathered flattened objects which one might (but cannot) touch, perhaps a likeness of ancestral ghost, a sign of what might have been, might be. Sculpture presents the very (coldly) touchable thing as object itself-a stand-in which might be mistaken on sight as such, for animal being (Pygmalion). Architecture, then, that which surrounds the living being and all such objectification as it has gathered-presents a womb, as it were, as well as tomb of the mind's mathematics...externalizing numbers into space, numb thought's otherwise endless flights of fancy. And Poetry?-the very exteriorization of thought process, both halves of the brain (the right, rhythmed, musically wired, and the compartment left) at one in ordering the chamber-music-muscularity of throat apparatus, tongue, teeth, to exquisite grunts of meat-thought-staccatos. Dance, similarly, best organizes the exterior body to mimic its innards, most usually prompted by Music's rhythm-mimesis of same. And Drama?-Drama, that least evolutionary of all the Arts, deserves our special study. Drama is, as everyone knows, that form of Human expression which most times presents our everyday-and-- nightmare-night's imagined outer world (the mirror held up to nature, as it were, is, and ever shall be). …

Purpose: This paper aims to reflect on the use of Artificial Intelligence (AI) in works of art, examining its impact on the creative process, aesthetics, and audience reception, then provide a critical reflection on the use of AI in works of art, examining its potential benefits and drawbacks and exploring the ethical considerations involved. The paper examines the use of AI in works of art, with a focus on the methodologies and case studies that demonstrate the potential and challenges of this emerging field. Research methods: The paper presents case studies of notable artworks that utilize AI, discusses the potential benefits and drawbacks of AI in art, and explores the ethical considerations involved. Through a review of the literature and analysis of six case studies, we explore the aesthetic, technical, and social dimensions of AI-generated art, as well as the ethical and critical debates surrounding its production and reception. Findings: The paper concludes by emphasizing the importance of critical engagement and continued reflection on the use of AI in art. Our findings suggest that AI can offer new modes of creative expression and engagement, but also raise questions about the role of human agency and interpretation in the artistic process. Implications: AI-generated art offers new opportunities and challenges for artists, scholars, and audiences, and that future research should focus on developing ethical guidelines, exploring collaborative practices, and examining the social and political implications of AI-based art. Case studies of AI-generated art can help us understand the potentials and limitations of this field by providing specific examples of how AI is being used to create art, and how artists and audiences are engaging with these works. These studies can provide insights into the creative processes, technical challenges, and social implications of AI-generated art.

The article is devoted to the study of the psychological aspects of Salvador Dalí’s personality and creative process. Based on the analyzed data taken from cultural and historical conditions of the artist's life, as well as from biographical, autobiographical facts and works of art, the following groups of factors were found that influenced both the psychological characteristics and elements of the artist's creative products. The group of macro factors includes geographical, in particular the tendency to portray the landscape, where the artist lived, as the background image in his paintings; global events (the image of the Civil War was used in the painting "Soft Construction with Boiled Beans: Premonition of Civil War" (1936)). Micro factors include two subcategories: close social environment and personal events. The death of the elder brother had seemingly an intense influence on artist's personality and creativity that led to the development of guilt in the parents who treated Dalí in a special way, as their second and only son. This situation formed a sense of permissiveness and uniqueness that, becoming Dalí’s fixed personality traits, were manifested in art: the widespread use of free associations and a surrealistic approach in paintings. Freud's ideas had an exceptional influence on Salvador Dalí, and led to the development of a unique method in his works of art - a paranoid-critical method that allows mixing real objects in paintings with the fantastic ones. It is worth noting the influence of two strong childhood emotional impressions that have signs of psychological trauma: contemplation of the decomposition process of a hedgehog’s corpse and entomophobia of grasshoppers. These two events formed individual images that the artist often used in his surrealist paintings. Therefore, based on these facts we can talk about the existence of a certain mechanism that transform the image of psychological trauma into a permanent element of creativity. The results of the study showed the presence of the following Dalí’s main personality traits: shyness (especially in childhood and adolescence), narcissistic personality type, alienation and closed nature, ambition and the desire for recognition. Thus, it can be argued that there is a certain mechanism in the creative process that transforms the formed psychological traumas and phobias into stable symbolic elements of creative products. The consistent effect of certain events in a life on personality structure was established and, accordingly, the impact of such events on a choice of a certain style in creativity was revealed.

A small but thriving philosophical industry is engaged in the ontology of art: the avowed aim is to specify the kind ofthing an artwork is, or the ontological category to which an artwork belongs. Here is Amie Thomasson's description of the enterprise:The central question for the ontology of art is this: sort of entities are works of art? Are they physical objects, ideal kinds, imaginary entities, or something else? How are works of art of various kinds related to the mental states of artists or viewers, to physical objects, or to abstract visual, auditory or linguistic structures? Under what conditions do works come into existence, survive, or cease to exist?1And here is Guy Rohrbaugh's description:Ontologists offer a map of reality, one divided into such broad, overlapping territories as physical and mental, concrete and abstract, universal and particular. Such a map provides the setting for further philosophical investigation. Ontologists of art seek to locate works of art in this wider terrain, to say where in our universe they fit in. Their governing question is, thus, What kind ofthing is a work of art?2Music is among the artforms frequently targeted by the enterprise. Julian Dodd, for example, says Wynton Marsalis composed In This House, On This Morning in 1992. But what is the nature of the thing he composed? Dodd undertakes the project of addressing . . the categorial question: the issue of which ontological category works of music belong to.3 In similar spirit, Jerrold Levinson asks What exactly did Beethoven compose?. . . what sort ofthing is it, this quintet which was the outcome of Beethoven's creative activity?4 And Stephen Davies, reflecting upon philosophical theories of music ontology, says Philosophers argue over whether musical works are classes, types, or kinds, over whether they are universale or particulars, over whether they are created or discovered, and over whether musical works, as well as their performances, consist of sounds . . ..5Such questions appear reasonable: we wish to know what sorts of entities are in the world, and - should artworks find place in the inventory - what sorts of things they are. But given puzzles and complexities involving essence, individuation, metaphysical explanation, and the relation between objects and practices, it is not clear what constitutes successful answers to such questions; nor is it clear whether the ontologist of art provides anything not already provided by critics, historians, and consumers of art. The situation is no clearer within that subindustry concerned specifically with the ontology of music. One upshot of these concerns is that artworld ontologists might be engaged in a dubious enterprise.Others have voiced skepticism about the value of ontological inquiry in the arts;6 but the skepticism I advocate here is more global, grounded in general methodological concerns about the explanatory and/or justificatory power of ontological theories.The structure of the discussion is as follows: Sections I and II address the kind of explanation - if any - that artworld ontologies might plausibly be construed as providing. Part III muddies the waters by acknowledging that artworld ontology might not, after all, be in the business of explanation, and offers alternative pictures of the ontologist's goals. Parts IV-VI broach the disturbing possibility that art-ontological theories provide nothing over and above information already provided by the art historian and sociologist of art; and traditional concerns about modality and essence motivate the idea that ontologies of art and music are nothing more than reifications of theorists' commitments to the relative importance of certain artwork properties.7 Later sections explore several efforts to salvage and legitimize the practice of artworld ontology but conclude that prospects for such salvation are dim.IArt is not science. Granted, there is artistry in science: physics requires creativity and imagination; and there is science in art: painting and musical composition require problem solving and effective use of resources. …

SUMMARY In this paper the points of linguistic contact of literary study is discussed. Since the literary work of art is a linguistic work of art, it is imperative that it should also be guaged on a linguistic level. The problem is only who should undertake this task: the literator or the linguist? A literary text does not only comprise a context of linguistic values, but also one of literary values. These two contexts are inextricably interwoven. On account of this organic unity, research into the work of art cannot be divided along disciplinary lines, one part undertaken by linguistics, the other by literary study. It is argued that the literator is best equipped to account for the work of art as a whole, because what basically happens in the creative process is that the linguistic forms have to shape themselves according to the demands of an almost pre-existent literary form or context. This context belongs to the special field of knowledge of the literator. The solution to the problem of disciplinary ...

From birth, the child is the discoverer of the world that surrounds him. But independently, a preschooler still cannot find answers to all his questions teachers help him. At the preschool, educators use methods of problem-based learning: questions that develop logical thinking, modeling of problem situations, experimental research activities, etc.
 The development and implementation of the cognitive speech project will teach children to comprehend the acquired knowledge and use it in independent creative activity. It will expand children's knowledge of art, arouse a desire to visit exhibitions, museums, cultural events. It will develop inquisitiveness, curiosity, and the desire to live in active interaction with nature in children. It will allow you to more freely and easily own the material of the topic stated in the name of the project. Will introduce children to famous artists and their paintings such as: I.I. Shishkina "The First Snow", "Landscape with lake", "Rye"; I. I. Levitan. "Golden Autumn", "Blooming apple trees", "Spring. Big water", "Overgrown pond"; Savrasov A. K. "Rooks have arrived", "Winter"; poets and their poems: Pushkin A.S. "Winter morning", "sad time", Fet A.A. "Wonderful picture", "I came to you with the dawn", Tyutchev F. I. "Spring waters" "There is in the original autumn", Yesenin S. A. "white birch", "Blue May"; composer Tchaikovsky P. I. and his work "Seasons".
 We assume that the active involvement of children in joint project activities will contribute to the development of creative abilities in children with ONR, will allow for more productive correction of their existing disorders.
 Solving various cognitive-speech tasks together with adults and peers during the design process, children with speech underdevelopment motivatively enrich and activate their vocabulary, learn to speak publicly, communicate adequately with others.
 The project method can go through all kinds of children's activities and encourages teachers to improve their professional and creative level, which affects the quality of the educational process. It encourages the active interaction of all pre-school specialists, parents of pupils and the organization of society.
 It forms the ability of preschoolers to plan and independence in solving the problem, promotes the development of cognitive and creative activity. It is the project activity that allows you to unite teachers, children, parents, teach them to work in a team, cooperate, plan their work. Every child will be able to express, feel needed.

The Reformed tradition, following Zwingli and especially Calvin, excluded images from the churches. Calvin rejected the sacred images of his day as idolatrous on the grounds that they were treated as making God present, that the necessary distinction between God and God’s material creation was not maintained, and because an image, which rightly was to be mimetic of visible reality, could not truthfully depict God. Calvin approved the Renaissance notion of visual art as mimetic and he understood that artists’ abilities were gifts of God and were to be used rightly. He also had a very keenly developed visual aesthetic sense in relation to nature as the “mirror” of God’s glory. However, the strong human tendency towards idolatry before images, he believed, meant that it was not expedient to place any pictures in the churches. Reinterpretation of key biblical passages, particularly the first and second commandments (Calvin’s numbering), together with changes in the understanding of what constitutes visual art, of the relationships between words and visual images, and of the processes of interpretation and reception not only of texts but of all perceived reality, lead to a re-thinking of the issues. The biblical narrative with its theological insights can be interpreted into a visual language and used by the church as complementary to, but never replacing, biblical preaching and teaching in words. Attention to the visual aesthetic dimensions of the worship space is important to allow for this space to function as an invitation and call to worship. Its form, colour, light and adorning may give aesthetic delight, which leads to praise and thanksgiving, or it may provoke other response which helps people prepare to offer worship to God. The world and its people depicted in visual art/image may inform the praying of the church and the visual representation of the church (the saints) may provide congregations with an awareness of the breadth of the church at worship in heaven and on earth. In the present diversity of views about visual art and the work of the artist there is freedom for the artist to re-think the question of vocation and artists may find new opportunities for understanding and exercising their vocation not only in secular art establishments and the community but also in relation to the worship of the church.

The article highlights the role of musical and dramatic activities in the process of forming the pupil’s creative individuality by the singing training in primary specialized art educational institutions. In the reformation process of primary specialized art education the search for new methods, techniques and forms of music education acquires an unusual actuality. The special feature of contemporaneous education is forming a creative individuality and a creative personality with active life position, creative potential, which can regulate its own creative activity and determine its problems in a creative way. The article highlights the essence of musical and dramatic activities. The educational potential of children's musical performance has been determined. The purpose of this article is to prove the necessity of introduction by musical and dramatic working forms to the educational process. The goal of this process is forming the pupil’s creativeindividuality on the vocal lessons in primary specialized art educational institutions. Professor Oleksandr Rostovskiy’s dictum is: "The leading idea of pupil’s music educational process is an idea of interaction by different types of art, which is based on completeness perception of surrounding world and art work", which is the basic aspect of our scientific research, has been substantiated in practice. The educational and practical role by practice use different forms of musical-dramatic activity has been ascertained, because children’s opera (musical and performance) develops different component parts of pupil’s creative individuality.

It is not easy to create musical works. It requires perseverance, toughness, broad knowledge and experience in addition to long creative process for musicians to pour their ideas into musical works that are intelligible and enjoyable. Different artists have different understanding of artistic works with certain theme and they have their own way to interpret the artistic works. There are various challenges they artists must face in creating good artistic works that are enjoyable by their audience or music lovers. The creative process is carried out by exploring, observing, improvising and arranging the results of the exploration, the observation and the improvisation in a good composition. It is the key for the artists to the success in their artistic creation. Keywords: Music, Creativity, Performance

Accountability report is a written description of creative experiences as an artist or a photographer of aesthetic exploration efforts on the image and the idea of a human as a basic stimulant for the creation of works of art photography. Human foot as an aesthetic object is a problem that relates to various phenomena that occur in the social sphere, culture and politics in Indonesia today. Based on these linkages, human feet would be formulated as an image that has a value, and the impression of eating alone in the creation of a work of art photography. Hence the creation of this art photography entitled The Human Foots as Aesthetic Object Creation of Art Photography. Starting from this background, then the legs as an option object art photography, will be managed creatively and systematically through a phases of creation. The creation phases consist of: (1) the exploration of discourse, (2) artistic exploration, (3) the stage of elaboration photographic, (4) the synthesis phase, and (5) the stage of completion. Methodically, through the phases of the creative process through which this can then be formulated in various forms of artistic image of a human foot. The various forms of artistic images generated from the foots of its creation process, can be summed up as an object of aesthetic order 160 Kaki Manusia Sebagai Objek Estetik Penciptaan Fotografi Seni in the photographic works of art. It is specifically characterized by the formation of ‘imaging the other’ behind the image seen with legs visible, as well as of the various forms of ‘new image’ as a result of an artistic exploration of the common image of legs visible. In general, the whole image of the foot in a photographic work of art has a reflective relationship with the social situation, cultures, and politics that developed in Indonesian society, by value, meaning and impression that it contains.Keywords: human foots, aestheti,; social phenomena, art photography, images

The article is devoted to the problem of formation of creative abilities and cognitive interests of students. The main directions of development of the creative person according to the social needs of the present are considered. It is noted that creative activity becomes a form of knowledge of the material-objective world; identifies personality possibilities, new ways of one’s personal development. Therefore, the problem of developing the creative abilities of students in the course of educational and cognitive activity is of an exceptional relevance. The author believes that influencing the organization of creative activity is possible only under certain conditions, in particular: to conduct classes in an atmosphere of mutual understanding and co-creation, perceiving each student as a person; to give preference to the dialogical form of conducting classes, when students have an opportunity: to think independently, to make suggestions, to defend their own point of view, presenting their own arguments; it is advisable to create situations of choice at classes and to enable students to carry it out. The author notes that the observance of certain organizational and methodological conditions can significantly contribute to the development of creative potential of students, namely: the creative vision of the world through the systematic organization of work with students; development of creative values through the proper level of teacher's teaching skills; deepening the perception of the world picture through the integration of various types of students’ creativity, works of art and their figurative reproduction in their own creative activity; individual peculiarities of perception and emotional attitude through the use of the educational potential of the family, organization of creative activity. When performing creative tasks the individual characteristics of students to select the material of the appropriate level of complexity must be taken into account. The article examines the examples of students' creativity during the European Cultures Festival, debates and clubs on the basis of the Kryvyi Rih National University.

Autism Spectrum Disorder (ASD) is a complex neurobehavioral disorder characterized by impairment in reciprocal social interaction, impairment in communication, and the presence of repetitive and stereotypic patterns of behaviors, interest, and activities. Autism Spectrum Disorder has grown to epidemic proportions, once to be very rare that ASD are estimated to occur in as many as 1:160 (one in every 160 people). Although autism is characterized by deficits in socialization, communication and imagination; they still have. This paper will focus on perceptual creativity processing. As Kientz & Dunn,1977 said that Children with autism show sensitivities to visual and other stimuli in everyday life For example; parents have reported that their autistic children show interested to look at the TV commercial, which is the audio and visual from the program influences her/his mood to stimulating creative activities such as painting. Television, from children’s programs through commercial television, has probably influence to people life styles. Such ways of interesting of autistic children to this program have real implication how the subject stimulated for anyone. Some works of art by the autistics shown connection between the audio visual media and ideas of creative activities. It is now possible, using television commercial methods to make a child with autism rise their abilities. By using the purposive sampling methods, the research focused some Aan’s (15 years old) works.

As a species of hunter and gatherer, we as humans are driven to collect things that we can use to sustain our lives, but once the intrinsic need of this process is met, animals of all sorts will collect objects for other purposes. To the contemporary artist, this innate sense of object envy or the desire to collect has become a driving force behind much contemporary art practice and is firmly posited in art theory. Patterns are emerging within collecting processes that have become templates for unique styles of representation, be they conceptual or practical. This research probes beneath the surface of artistic practice in relation to collected object inclusive artistic practice in the search for a model to explain the phenomena which has become more prevalent over the past century. The historical discourse of object collecting, classification and display from the Medieval Reliquary, cabinets of curiosities, early museums and the modern and contemporary museological frameworks of the twentieth and twenty-first centuries forms the basis of this research. It is hypothesized that this historic continuum of collection processes has generated culturally and socially influenced object interaction behaviours that underpin the manner in which humans collect, classify and display objects. These historically informed behaviours have, over the span of history, resulted in a set of codified practices of collecting, classification and display. These practices, which have been repeated over the course of object collecting history, appear to have been adapted and incorporated into contemporary visual arts practice in those instances where artists engage with collected objects. To investigate the resonances of characteristic practices of historic collection processes that can be observed in contemporary collected object inclusive artistic practice, a series of researcher generated theoretic paradigms titled the Butterfly Pin Constructs, has been developed. The Butterfly Pin Constructs consist of five individual constructs that represent key elements of collecting, classification and display which have persisted and evolved since the Medieval period. These theoretic representations provide a platform upon which to discuss collected object inclusive artistic practice and the impact of the legacy of collection processes upon this contemporary phenomenon. This research utilises interview data from four Australian sample artists and the visual analysis of a number of their works of art to interrogate the framework of the Butterfly Pin Constructs and the role they may fulfil within the creative process. The Butterfly Pin Constructs, as embodiments of key characteristics of historic collection processes, are the central framework upon which an understanding of the phenomena of collected object inclusive practice can be positioned. As such, the interview responses and works of art of the late Tom Risley, Donna Marcus, Patrick Hall and Glen Skien, each of whom engage in collected object inclusive artistic practice, offer a sample set of this artistic phenomenon upon which to assess the validity of this theoretic model as offering an alternate paradigm to examine collected object inclusive artistic practice.

Globalization is a factor that contributes to the unification and integration of national cultures of different countries of the world. This phenomenon, of course, has a significant impact on the development of modern painting. The article is devoted to the analysis of the work of contemporary artists in order to identify the features of the process of their transformation in the context of the development of global art. The boundaries of the concepts of "world art" and "global art" are defined. The characteristic features of the modern global art environment are revealed, as well as the forms of their perception and interpretation in the works of such artists as Chris Metze, Douglas A. Kinsey, Claire Fahy, Katarzyna Zvolinska, Nazafarin Lotfi and Daniel Hutchinson. The novelty of the research lies in the fact that the article examines the works of individual and most famous contemporary artists in the context of such a phenomenon as "global art". Here a watershed is drawn between the concepts of "global art" and "world art", their boundaries and the most important features are determined. Thus, it contributes to the formation of ideas about the global trends of artistic and creative activity on the example of specific paintings. Relevance and short-termness are designated as the main features of global art, which strongly affect the artistic form, figurative language and ideological content of works in the art of modern painting.