rss_2.0Arts FeedSciendo RSS Feed for Artshttps://www.sciendo.com/subject/ARhttps://www.sciendo.comArts Feedhttps://www.sciendo.com/subjectImages/Arts.jpg700700Dansens dannende potensialhttps://sciendo.com/article/10.2478/njd-2021-0008<abstract> <title style='display:none'>Abstract</title> <p>The purpose of this presentation is to communicate the main arguments from my master’s thesis, «The Liberal Learning Potential in Dance» (Olsen 2019). The thesis focuses on the potential and power that lies in dance and dance teaching in connection with liberal learning, defined as human growth at folk high schools. I present the four liberal learning potentials in dance that formed the basis for the thesis and their relation to the experiences of previous students, as well as the didactic thinking of my colleagues and I. This thesis brings new knowledge about what liberal learning in/through dance can be. This is of relevance both to the context of folk high school in particular and to the wider discussion of aesthetic subjects in society and the school system. Norwegian schools, like folk high schools, have a mission to facilitate human growth. This thesis is a voice that indirectly speaks of the place of dance in Norwegian schools and teacher education from a liberal learning perspective.</p> </abstract>ARTICLE2022-01-18T00:00:00.000+00:00Enrico Cecchetti: Danser, koreograf og pedagog av Randi Frønsdalhttps://sciendo.com/article/10.2478/njd-2021-0009ARTICLE2022-01-18T00:00:00.000+00:00Editorialhttps://sciendo.com/article/10.2478/njd-2021-0005ARTICLE2022-01-18T00:00:00.000+00:00Spring Actvitieshttps://sciendo.com/article/10.2478/njd-2021-0010ARTICLE2022-01-18T00:00:00.000+00:00Report from the NOFOD National Seminar at the CODA International Dance Festivalhttps://sciendo.com/article/10.2478/njd-2021-0007ARTICLE2022-01-18T00:00:00.000+00:00Deconstructing Contemporary Dance Discourses by Acknowledging Elderly Female Bodieshttps://sciendo.com/article/10.2478/njd-2021-0006<abstract> <title style='display:none'>Abstract</title> <p>This article uses a choreographic project to discuss the relationship between elderly women and contemporary dance. It focuses on how participating in the project is of artistic value to these women and what happens in the meeting between me as a master’s student and researcher, the project itself and the women. The article is based on a master’s project in dance pedagogy aimed at using action to change normative ideas about a dancer’s body. The artistic practice is based on the women’s lived experiences. Through improvisation and with a somatic approach as a choreographic performative practice, collaborative transformative learning emerged from the participants. By articulating and visualising the experiences of elderly women as a marginalised group, the meaning of the concepts of dance, body, and age was deconstructed and new insights were gained to challenge and broaden normative ideas about dance and the dancer’s body. The discoveries presented in this article show that elderly women have the capacity to change through dance. By using a decolonising methodology, I argue that deconstruction can be achieved in interactions with others and experienced as artistry. In conclusion, I claim that age norms and bodily ideals in contemporary dance discourses can be challenged by taking the advantage of the resources of older women and by giving them access to contemporary dance.</p> </abstract>ARTICLE2022-01-18T00:00:00.000+00:0015th NOFOD CONFERENCE The Danish National School of Performing Arts, COPENHAGEN 5.–8.7.2022 : Choreographies for bodies, identities and ecologieshttps://sciendo.com/article/10.2478/njd-2021-0011ARTICLE2022-01-18T00:00:00.000+00:00Multifunctional Role of Greenery in the Perception Process Based on Gibson's Theoryhttps://sciendo.com/article/10.24427/aea-2021-vol13-no3-04<abstract> <title style='display:none'>Abstract</title> <p>In urban design, greenery is associated with ecological, health, recreational and leisure functions. The author would like to draw attention to the different roles of greenery forms in the process of space perception. The study analyzed greenery as an important element of the spatial environment, influencing the multisensory human experience and perception of the environment, including architectural objects. The considerations were based mainly on the theory of perception according to J. Gibson. The aim of the analysis is to draw attention to the forms of greenery, which, by their diversity and changeability in time, provide an enormous amount of stimuli that act on all the senses and make the process of perception more complete. The role of greenery in the process of perception is very large and multifaceted, so according to the author, greenery forms should be more appreciated by urban planners as a tool for designing space and human experience.</p> </abstract>ARTICLE2022-01-18T00:00:00.000+00:00Analysis of Aerodynamic Phenomena in Selected Quarter of Building Development in Warsaw Downtown with Reference to Air Pollutionhttps://sciendo.com/article/10.24427/aea-2021-vol13-no3-01<abstract> <title style='display:none'>Abstract</title> <p>Air pollution, both gaseous and in the form of dust, is a problem that affects numerous densely built-up areas of modern cities. Based on this assumption, the authors of the following paper have examined an exemplary part of urban space with various building developments located in Warsaw downtown. Both experimental and numerical studies were conducted for the two prevailing wind directions observed in this area, that is the west wind and the south-west wind.</p> <p>Experimental research was conducted with the application of two known laboratory techniques, i.e., the oil visualization method and the sand erosion technique. The studies were conducted in an open-circuit wind tunnel. Commercial ANSYS Fluent program was used for numerical simulations. The k-ε realizable turbulence model, often applied for this type of tasks, was used in the calculations. As a result, distributions of the velocity amplification coefficient were obtained in the area under consideration, as well as images that present the averaged airflow direction. On basis thereof, potential zones where contamination accumulation may occur were determined.</p> <p>The impact that introduction of a hypothetical high-rise building into the area would exert on wind conditions in its vicinity was also tested. High-rise buildings tend to intensify airflow in their immediate vicinity. Thus, they can improve ventilation conditions of nearby streets. However, in this particular case, the research prompted the conclusion that the proposed building causes turbulence and increased velocity gradients in the majority of elevation planes. On the other hand, in the ground-level zone, the building blocks rather than intensifies the airflow.</p> </abstract>ARTICLE2022-01-18T00:00:00.000+00:00Personal Proof of the Cityhttps://sciendo.com/article/10.24427/aea-2021-vol13-no3-03<abstract> <title style='display:none'>Abstract</title> <p>Human as a species is very similar to each other but it is also a separate, individual phenomenon. The city was created to resemble it. Treated as living tissue, it can harmoniously develop and follow its identity, constituting an autonomous phenomenon despite many similarities. The article deals with the problem of identifying cities on the basis of their similarities in the structure and quality of architectural and urban spaces. The article aims to distinguish the important, original compositional elements and to indicate universal factors determining the identity of the city. As a result, the characteristics of the city were discussed, while allowing for the creation of a matrix that would allow for proper recognition of the structure of a given city and proper development. The whole discussion was embedded in the framework of the applied observational, heuristic, and case study method, the aim of which is to find the right answer and confirm the main assumptions.</p> </abstract>ARTICLE2022-01-18T00:00:00.000+00:00Designing Responsive Environments in the Stary Browar in Poznań. Method and Process in Creating Public Space in the Cityhttps://sciendo.com/article/10.24427/aea-2021-vol13-no3-02<abstract> <title style='display:none'>Abstract</title> <p>In the era of rapid development of digital technologies, designers are faced with the challenge of incorporating the tools of the virtual world into the physical world. The widespread use of new media in design makes it possible to create environments that influence human experience. One of the design methods that have influenced human feelings for several decades is Experience Design - an extremely versatile, immersive method, creating exhibition environments, commercial spaces, urban interiors, and virtual worlds of games, applications and websites. This paper aims to present a design process and effect of an experimental, innovative academic program of semester course “Immersive environments and interactivity in designing architectural interiors and their surroundings”<sup>1</sup> Moreover, the author’s didactic intention is to present the application of modern digital technologies in urban space design. Gathering the knowledge about the experience design method and its tool - the experience path fulfils high expectations set on students in their future careers.</p> </abstract>ARTICLE2022-01-18T00:00:00.000+00:00Art Studies in the Context of Power Relations in Lithuania, 1940–1953: The Case of the Activities and Closure of Kaunas Applied and Decorative Art Institutehttps://sciendo.com/article/10.2478/mik-2021-0007<abstract> <title style='display:none'>Summary</title> <p>The main purpose of this report is to discuss the influence of political power on art studies in Lithuania and the creative work of artists from 1940 to 1953. It will be based on the destruction of the Kaunas Institute of Applied and Decorative Arts, which is little known to art historians. After the Second World War, this institute actually followed the traditions of Kaunas Art School (1922–1940): that was the reason for its closure in 1951. The closure was officially called the reorganisation and continuation of art studies in Vilnius.</p> <p>The post-war ideological content and power of the government acted in the study process. However, in essence, educators were guided by their modernist attitudes and did not accept Soviet directives. The report will try to show how political power has corrected art studies and changed the work of mature artists.</p> <p>This article raises a question about the cost of adaptation and resistance in life and creation. The idea is that the destruction of an art institution is possible, but it is impossible to completely destroy the art school tradition. These and other similar issues will be addressed in the article, based on archival documents and examples of works by several different generations of artists – Vytautas Kairiūkštis (1891–1961), Liudas Truikys (1904–1987), Zenonas Varnauskas (1923–2010).</p> </abstract>ARTICLE2021-11-15T00:00:00.000+00:00Architectural Criticism in Lithuanian Interwar Press: Preconditions of the Phenomenonhttps://sciendo.com/article/10.2478/mik-2021-0005<abstract> <title style='display:none'>Summary</title> <p>The main goal of the article is to find out whether a specific genre of architectural criticism was formed in the public discourse of interwar Lithuania (1918–1940), and if so, to define the main tendencies of this phenomenon. After defining the critique of architecture as a public discourse in which, based on theoretical knowledge, reflections on the essence of architecture or evaluations of ongoing urban development and buildings are popularly presented, the article discusses such texts in interwar Lithuania. The publication will acquaint readers with the most creative reviewers of architecture and the thematic variety of publications attributed to architectural critics. The article will also reveal personalised, unexpected assessments of buildings that have already become objects of heritage.</p> </abstract>ARTICLE2021-11-15T00:00:00.000+00:00Reflections of Theatrical Activities in Lithuanian Local Periodical Press Under German Occupation 1941–1944https://sciendo.com/article/10.2478/mik-2021-0006<abstract> <title style='display:none'>Summary</title> <p>The article explores the reflection of Lithuanian theatrical activities in the local press during the World War II. As the number of articles shows, theatre was an important part of the dailies’ content. The articles reveal that theatre activities were very important for the expansion of the Nazi culture. One can distinguish three general themes that the articles cover: promotion of Western theatre, especially German, promotion of Lithuanian repertoire and presentation of entertainment theatre. The latter can still be divided into entertainment for German soldiers and administration, and entertainment for Lithuanian audiences. The content of the articles reveals that journalists writing about theatre avoided Nazi propaganda clichés, such as hatred for Bolsheviks and Jews, but these clichés were nevertheless used by the representatives of theatre administrators.</p> </abstract>ARTICLE2021-11-15T00:00:00.000+00:00Uniate Sacral Architecture in the Grand Duchy of Lithuania: A Synthesis of Confessional Architecturehttps://sciendo.com/article/10.2478/mik-2021-0004<abstract> <title style='display:none'>Summary</title> <p>The architectural legacy of the Unitarians in the former Grand Duchy of Lithuania has received little attention from researchers to this day. This article presents an architectural synthesis of the Uniate and Order of Basilians that reflected the old succession of Orthodox architectural heritage, but at the same time was increasingly influenced by the architectural traditions formed in Catholic churches. This article presents the tendencies of the development of Uniate architecture, paying attention to the brick and wooden sacral buildings belonging to the Uniate and Order of Basilians in the territory of the Grand Duchy of Lithuania. The early Uniate sacral examples reflected the still striking features of the synthesis, which were particularly marked in the formation of the Greek cross plan and apses in the different axes of the building. All this marked the architectural influences of Ukraine, Moldova and other areas of Central and South-Eastern Europe, which were also clearly visible in Orthodox architecture. Wooden Uniate architecture, as in the case of masonry buildings, had distinctly inherited features of Orthodox architecture, and in the late period, as early as the 18<sup>th</sup> century, there was a tendency to adopt the principles of Catholic church architecture, which resulted in complete convergence of most Uniate buildings with examples of Catholic church buildings. Vilnius Baroque School, formed in the late Baroque era, formed general tendencies in the construction of Uniate and Catholic sacral buildings, among which the clearer divisions of the larger structural and artistic principles are no longer noticeable in the second half of 18<sup>th</sup> century. The article also presents the image of baroque St. Nicholas Church, the only Uniate parish church in Vilnius city, which was lost after the reconstruction in the second half of the 19<sup>th</sup> century.</p> </abstract>ARTICLE2021-11-15T00:00:00.000+00:00Gatherings of Jewish Artists in Interwar Lithuaniahttps://sciendo.com/article/10.2478/mik-2021-0002<abstract> <title style='display:none'>Summary</title> <p>The main subject of this paper is the Jewish artists of interwar Lithuania and their efforts to unite. It analyses the aspirations of Jewish artists to unite into groups, to represent and present their art, and to maintain their national identity. The article introduces the main organisers, participants, circumstances and goals of the artists’ gatherings. It discusses three cases: the cultural policy pursued by National Jewish Council’s Section of Culture at the institutional level; Jewish artists who gathered on a social basis; and the <italic>Art Gallery</italic> of Neemiya Arbit Blatas as a unique exhibition space in inter-war Lithuania, which mainly exhibited the works of Jewish artists. The paper focuses not on the artistic legacy or its value, but rather on the processes of cultural life of Jewish artists in interwar Lithuania.</p> </abstract>ARTICLE2021-11-15T00:00:00.000+00:00Arctic Drama to Sámi Theatre – Cultural Clashes Towards Decolonisation: In Shared Dialogic Spaceshttps://sciendo.com/article/10.2478/mik-2021-0008<abstract> <title style='display:none'>Summary</title> <p>This article deals with the concept of Arctic Drama, which is about how there is a relationship between drama and cultural clashes in the perspective of shared cultures in the northern Scandinavian area, which is defined as arctic in the geographical sense. In this vast area the Sámi people historically and to the present day have been living from reindeer herding in a nomadic lifestyle, giving them a close relationship to nature.</p> <p>Norwegians and Swedes colonised this area historically, especially the coast for fishing.There have been strong cultural clashes since the Viking ages, but colonisation mainly started later by introducing Christianity by force in the 16<sup>th</sup> century. Since the Romantic age, these ethno-cultural clashes have been reflected in drama and theatre, and some plays by Henrik Ibsen and Knut Hamsun echo these tensions. An independent theatre of the Sámi people as well as of other indigenous people in Greenland and Canada, like the Inuits, would also develop some theatrical strategies based in a dramaturgy that could be described as a “spiral dramaturgy”. Cultural independence has contributed to a decolonisation process, contributing to even out the cultural clashes in theatre and drama, which could be defined as postcolonial towards decolonisation. This article focuses on the area of arctic Scandinavia.</p> </abstract>ARTICLE2021-11-15T00:00:00.000+00:00In Search of Missing Collection: The Case of Artist Albert Rappaporthttps://sciendo.com/article/10.2478/mik-2021-0003<abstract> <title style='display:none'>Summary</title> <p>The artist Albert Rappaport was born in Anykščiai in 1898. In 1911, the family emigrated to New York. Rappaport became an American citizen in 1925 and began to travel widely. He studied fine art in New York, Paris, Dresden and Munich. He visited South America, Africa and traveled extensively through Europe (1925–1927, 1933, 1937–1939), returning to the United States now and again. The artist participated in several dozen exhibitions. He showed his work in Paris, Rome, Florence, Barcelona, Palma de Mallorca, Copenhagen, Mexico City, Havana, New York, Calgary and Montreal, in addition to his solo exhibitions in 1937 in Warsaw and Vilnius, and in Kaunas, Riga and Tallinn in 1938. After Rappaport’s death, in March 17, 1969 in Montreal, his collection of artworks disappeared and has thus far not been found. To date, two of his painted portraits are known to exist – one belongs to the private collection of Jonathan C. Rappaport, another is on display at the Jewish Public Library in Montreal.</p> </abstract>ARTICLE2021-11-15T00:00:00.000+00:00Celebration of the Hyperreal Nostalgia: Categorization and Analysis of Visual Vaporwave Artefactshttps://sciendo.com/article/10.2478/mik-2021-0010<abstract> <title style='display:none'>Summary</title> <p>Vaporwave grabs the attention of internet voyager with harsh collages glued together in a technically primitive manner. It’s a cultural phenomenon which both originated and is active solely on the internet. In the context of general internet culture Vaporwave is exclusive in its aesthetics due to the domination of violet and pink colors, technically primitive quality of texts, fetishization of 8th and 9th decade mainstream commodities and acute nostalgic undertones. Vaporwave has been mostly explored as a music genre or sociological phenomenon, while its visual aspect has mostly remained unattended. This article seeks to analyze the conceptual aspects embodied within Vaporwave visuals, to briefly compare them with music, and to unpack the mechanism of nostalgia as an affective entry point to the movement. The interpretation is mainly lead by Jean Baudrillard’s theory of hyperreality, and interpretational principles of hermeneutics. Five Tumblr blogs were analyzed. Hermeneutic inquiry into the texts yielded seven distinct symbol categories differentiated by the affect they generate: nostalgic commodities, idyllic classics, melancholic landscapes, harsh distortions, gentle geometry, depressive texts, and ecstatic brands. Each of these categories here are elaborated in detail finally summarizing the multilayered symbolism of the movement. It can be described as nostalgically challenging visual conventions through harsh technical quality and opposing codes of behavior through open expressions of depression and melancholy, thus exposing the doubts of individual imprisoned in postmodern society. ’80s and ’90s here become hyperreal fantasy lands of the past where a nostalgic individual can find refuge. In comparison to music, the visual aspect of Vaporwave highlights the technology as central artefacts of nostalgia, introduces new ways to analyze late capitalist consumer culture, and brings an intimate dialogue with hyperreality to the front. The article suggests that Vaporwave is a post-ironic art movement which both celebrates and criticizes capitalism, finally remaining vague whether there are ways to escape the system, and whether these ways should even be looked for.</p> </abstract>ARTICLE2021-11-15T00:00:00.000+00:00Performance Art Using Biometric Datahttps://sciendo.com/article/10.2478/mik-2021-0009<abstract> <title style='display:none'>Summary</title> <p>This research analyzes performance art that uses biometric data, based on two concept perspectives – inhuman interconnections and transcorporeality – applied to examples of European performance art from Lithuania, Finland, Poland, and Denmark. The term performance art theoretically refers to all art that involves the human body, human biometric data, inhuman interconnections, transcorporeality, and liminal space. This study examines the differences between wide-scope interactive art and design and performance art involving biometric data created through the application of recent developments in consumer technology for live events. This research examined three case projects through the method of autoethnography. The data presented in the article was either collected during the author’s performance art events or at performances the author was attending as a visitor. The cases are analyzed by means of qualitative data analysis, utilizing terms representing human biometric data and interactivity adopted from research within the fields of interactive art and interactive design. The study examines the combination of biometric data and art to explain the phenomenon of humans meeting technology, revealed through data collected from a body and transmitted to an audience during a performance art event. The conclusion revisits the key terms – performance art, biometric data, inhuman interconnections and transcorporeality – as applied to artistic practices, where performance art and biometric data meet.</p> </abstract>ARTICLE2021-11-15T00:00:00.000+00:00en-us-1