(Multimedia Art and Its Effect on the Contemporary Painting)

2012 ◽  
Author(s):  
Fayrouz Samir Abdelbaky
Keyword(s):  
Multimedia Art ◽  
Contemporary Painting

Kazimir Malevich: Economy as the Fifth Dimension

2019 ◽  
Vol 29 (6) ◽  
pp. 215-228
Keyword(s):  
Karl Marx ◽  
Dialectical Materialism ◽  
Economic Base ◽  
Surplus Value ◽  
Bourgeois Society ◽  
Fifth Dimension ◽  
Fourth Volume ◽  
Contemporary Painting ◽  
New Criterion ◽  
The Impact

This paper deals with the impact that Karl Marx"s Das Kapital (and especially its fourth volume, the theory of Surplus Value) had on the category of economy in Kazimir Malevich"s output. In a series of texts, Malevich proclaims economy the new criterion of art and the Black Square its embodiment in contemporary painting. While the author was analyzing Marx"s views on labor and human nature, echoes of them turned up in Malevich"s manifestos and philosophical essays where the artist pondered the idea of the liberation of creative exaltation. The article others an interpretation of the creative process itself from the standpoint of economy, which for Malevich provided an opportunity to lay down the foundation for a new kind of art that was consistent with the prevailing ideology. The author points out that while Malevich was in Vitebsk he studied Marx"s works with idea of incorporating economic studies into art: his speculations on the relationships between the ideological superstructure and the practical, economic base were written in the manner of Marxist philosophy and provided the basis for his main essays, The World as Non-Objectivity (1923) and Suprematism: Thee World as Non-Objectivity or Eternal Rest (1923-1924). They defined the new art as an independent ideological superstructure positioned “outside of other contents and ideologies.” Parallel to that, the author examines the correspondence between Malevich"s theory of the surplus element and Marxist doctrines on surplus value. It is also shown that Malevich hoped to prove that, as in dialectical materialism, his new surplus element opens the way to a new artistic structure that is emerging from the womb of the old system in the same way that communism comes about as a kind of heterogeneous body from within the underpinnings of bourgeois society.

The ‘Zen’ in the western monochrome

2020 ◽  
Vol 6 (1-2) ◽  
pp. 55-78
Author(s):  
Simon Morley
Keyword(s):  
Zen Buddhism ◽  
Historical Context ◽  
The Other ◽  
Binary Opposition ◽  
Middle Way ◽  
The 1950S ◽  
The One ◽  
Contemporary Painting ◽  
The Impact

I look at the impact of Zen Buddhism on western painters during the 1950s and 1960s, focusing on the monochrome in particular, in order to create a historical context for the consideration of transcultural dialogue in relation to contemporary painting. I argue that a consideration of Zen can offer a ‘middle way’ between conceptions of the monochrome (and art in general) often hobbled by models of interpretation that function within a binary opposition between ‘literalist/sensory’ on the one hand, and ‘intellectual/non-sensory’ readings on the other.

scholarly journals AUTHOR’S TECHNOLOGY OF THE MAKING A MODERN ICON BASED ON THE EUROPEAN PAINTING TECHNIQUES

2020 ◽  
Author(s):  
Andriy Demyanchuk ◽  
Keyword(s):  
Fine Arts ◽  
Chemical Properties ◽  
Theoretical Research ◽  
Sacred Art ◽  
Technological Processes ◽  
Physico Chemical ◽  
Egg Tempera ◽  
Historical Comparative ◽  
Contemporary Painting ◽  
Artistic Analysis

The purpose of the study pertains to the technology and techniques of ancient and modern icon painting. In particular, their principal processes that are presented on the basis of the author's experience and practical application tested by the well-known scientists-fine art experts. Methodology. The study was conducted using a complex of methods, such as historical, comparative, typological, analysis and generalizations, descriptive, visual, technological (chemical properties and physico-chemical processes); documentary (official and unofficial recorded information, books, manuscripts, etc.); artistic and stylistic (analysis of the manner of individual masters, their schools, separate fine arts periods); philosophical (metaphysical method: essence and phenomenon; substance and form); theological (church canons; divinity of the icon); method of artistic analysis. Research results. A unique author's technology of producing icons was developed and described on the basis of the study of the best methods of ancient and modern technological processes. This technology has been tested by the well-known students of the sacred art. Scientific novelty of the obtained results is that valuable materials dealing with the use of the ancient techniques and technological processes in modern sacred art have been contributed to the Ukrainian fine arts science, particularly, icon painting using the ancient egg-tempera techniques (taking into account the author's experience). Recommendations. The study of the ancient techniques and technological processes and their application in contemporary painting still require further theoretical research.

scholarly journals Memory in Linguistic Narrative vs. Postmodern Multitasked Multimedia Art Memory

2018 ◽  
Vol 1 (2) ◽  
pp. 101
Author(s):  
Vesna Srnic ◽  
Emina Berbic Kolar ◽  
Igor Ilic
Keyword(s):  
Short Term Memory ◽  
Social Role ◽  
Procedural Memory ◽  
Short Term ◽  
The Social ◽  
Multimedia Art ◽  
The Media

<p><em>In addition to the well-known classification of long-term and short-term memory, we are also interested in distinguishing episodic, semantic and procedural memory in the areas of linguistic narrative and multimedial semantic deconstruction in postmodernism. We compare the liveliness of memorization in literary tradition and literature art with postmodernist divisions and reverberations of traditional memorizations through human multitasking and performative multimedia art, as well as formulate the existence of creative, intuitive and superhuman paradigms.</em></p><em>Since the memory can be physical, psychological or spiritual, according to neurobiologist Dr. J. Bauer (Das Gedächtnis des Körpers, 2004), the greatest importance for memorizing has the social role of collaboration, and consequently the personal transformation and remodelling of genomic architecture, yet the media theorist Mark Hansen thinks technology brings different solutions of framing function (Hansen, 2000). We believe that postmodern deconstruction does not necessarily damage memory, especially in the field of human multitasking that utilizes multimedia performative art by means of anthropologization of technology, thereby enhancing artistic and affective pre&amp;post-linguistic experience while unifying technology and humans through intuitive empathy in society.</em>

Zola and the Science of Painting

2021 ◽  
Vol 60 (3) ◽  
pp. 295-306
Author(s):  
Robert Lethbridge
Keyword(s):  
Scientific Theory ◽  
Art Criticism ◽  
Scientific Progress ◽  
Second Empire ◽  
The Novel ◽  
Radical Revision ◽  
Contemporary Painting

The article explores a paradox in Zola's writing: the resistance to advances in scientific theory by the author of Du Progrès dans les sciences et dans la poésie (1864), as the first of many such assimilations of scientific progress and artistic trends. This is exemplified by the challenge posed to his Naturalist aesthetic by Michel-Eugène Chevreul's seminal De la loi du contraste simultané des couleurs (1839), popularised during the period of Zola's most sustained art criticism. This radical revision of the science of optics is increasingly accommodated in contemporary painting, from 1880 onwards, at the very moment of Zola's disenchantment with Impressionism. Although L'Œuvre, his novel of 1886, is set in the Second Empire (consistent with the historical limits of Les Rougon-Macquart), Zola inserts into his narrative the theory of complementary colours, the awkward anachronism notwithstanding, to explain his fictional painter's creative impotence. In relation to the latter, the article looks in detail at the genesis and textual details of a key passage in the novel in which Zola's irony at the expense of Chevreul's theories is almost explicit. At least as telling is his response to unsolicited advice about them: ‘J’ai plus de confiance dans l'observation directe que dans la théorie’. One could hardly conjure up a more succinct summary of Zola's unreconstructed approach to the science of painting which simultaneously testifies to his own principles of representation.

Contemporary Impressions, Kitsch Aesthetics

2017 ◽  
pp. 201-227 ◽  
Author(s):  
Jesse Matz
Keyword(s):  
Cutting Edge ◽  
The Other ◽  
Contemporary Painting

How the impressionist optic persists apparently unchanged in the very different forms of contemporary painting by Peter Doig and Thomas Kinkade—one a cutting-edge post-conceptual artist, the other the “artist in the mall,” but both kitsch in ways that transform the meaning of that term.

The Sounds of Zombie Media

2021 ◽  
pp. 229-252
Author(s):  
Lauren Flood
Keyword(s):  
New York ◽  
Electronic Waste ◽  
Experimental Music ◽  
Sound Art ◽  
Cultural Value ◽  
Multimedia Art ◽  
Material Goods ◽  
Do It Yourself ◽  
The Aesthetic ◽  
Tools And Techniques

This chapter investigates how do-it-yourself (DIY) cultures in New York City and Berlin make sound and music with “zombie media,” or physical materials rescued from obsolescence that are recycled, repurposed, and reanimated. In situating DIY repurposing practices within a context of conspicuous production, or the tendency to obsess over constant invention and fabrication, it explores zombie media as experimental instrument building, sound art, and multimedia art. Through solo tinkering, group workshops, concerts, and exhibits, participants employ the DIY ethos present in underground and experimental music and art scenes, as well as maker and hacker cultures, to explore the aesthetic, material, and cultural value of electronics at various life stages and afterlives. Some of their tools and techniques of repurposing include: circuit bending, hardware hacking, scavenging electronic waste, and repairing broken audio equipment. Drawing on discussions of the zombie, ranging from its original Haitian context to its widespread use as a symbol for the anxieties of late capitalism and overconsumption, the chapter shows how participants engage infrastructures of waste through an ethic of aversion, cultivating sustainability skills that demonstrate “productive” uses of time and materials, but which nevertheless embody conspicuous production. The lure of zombie media is its reanimating power—a resourcefulness-through-resistance that operates via sincerely held beliefs about labor, frugality, and conserving material goods.

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