ART FREQUENCIES (original) (raw)
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ART OR MEDIUM/THE WAVY CONNECTION OF ART AND SCIENCE
INOVATIVNE METODE POUČAVANJA U UMJETNIČKOM PODRUČJU Zbornik sažetaka Osijek, 23. i 24. listopada 2020., 2020
ART OR MEDIUM We are facing a sudden turn in all areas of society and moved into an ONLINE environment, communication and life. The long-awaited plan came true in less than a month. Nothing can be the same anymore. Which direction art goes and how to adapt to the bombastic crowded, non-selective database of virtual, audio, video and textual data to which everyone has access and the ability to act, realizes how SF novels about connecting man and computer have become a reality. The digital doors of all libraries, museums, schools, knowledge have become open and accessible. to all. At first glance, great progress, but human nature always hides surprises, and individuals misdirect advantages and technological advances and abuses against ourselves. We teach children about the dangers of the Internet, data protection, about a fake virtual world, and that world from which we pulled children of Generation Z is now our environment as well. Not knowing how to use the internet is a sure illiteracy and handicap. Artists have to master the elements of programming, run races with new software, tools, appliances, devices. His ideas, works, messages, ideas, everything that leads the creator to the creation and realization of ideas with intriguing motivation, is not noticed if it is not confirmed in the digital version. In my work I analyze the transfer of conventional methods of expression into the abruptly imposed ONLINE life as a potential waste of time and originality of creation itself. , which is in a way a call from the artist. New generations are coming, a new age that should not be ignored, but I am committed to not suffocating and burying society, youth with only one way of life. “If it’s not online, it didn’t happen, nor does it matter”. Plagiarism and theft have never been more readily available, just as it has never been a greater challenge to create a new, original, human one. Key words: internet, creation, man, originality THE WAVY CONNECTION OF ART AND SCIENCE Physics is a science that covers the entire planet and the universe with its laws. When we talk about a wave, we get various associations. For some it is a sea wave, some associate it with sound, some classify it as electromagnetic waves of light. The wave is found in all the arts and everyday life. Visual expression would be impossible without the visible part of the spectrum, musical expression without sound waves, literature and its expression can be associated with visual representation or speech, and both are represented by a wave. Physics introduces us to a scale of waves from those that our body can register with a particular sense to those that we detect with various devices and those that we cannot easily detect. The connection in the expression is linguistically identical, but depending on which branch we observe, harmony, rhythm, intensity, purity, color, tone, noises ,, frequency, we see a large presence of wave and physics in each branch of expression. The whole digital revolution we have witnessed in recent months is closely linked to electricity which also has its own kind of radiation in waveform. Let us mention only the frequency of the electric current which we clearly express by the formula. The sinusoid with which we most often describe wave motion is identical to the mathematical expression of circular motion, oscillation, the equation of a wave, or if we represent it artistically we call it a wavy line. We banally recognize the waves even at football matches, whereby fans express their connection and transfer of the same idea and common energy. In my work I connect different areas and emphasize the role and focus of the idea to vibration and waves that use the same or similar formulas and without which the whole art could not be realized, either in a physical or digital environment. Key words: wave, visual representation, sound, everyday life, physics
2021
Cette thèse de doctorat rend compte d'un projet de recherche artistique exemplaire,influencé de manière critique par la théorie de la résonance de Hartmut Rosa.Elle étudie la relation des chercheurs avec leur travail et leur situation professionnelle.La recherche a été menée dans une institution gouvernementale néerlandaise où l'environnement de travail rend la relation problématique en raison d'une bureaucratisation poussée, des processus de travail opaques, du manque de personnel et de moyens, de la surcharge de travail des employés. Ceci se traduit par des niveaux de congés maladie supérieurs à la moyenne et avec des signes d'épuisement professionnel. Une enquête était requise pour voir si une recherche fondée sur l’art pouvait stimuler les relations entre les travailleurs, en s'attaquant à certains des problèmes précédents.La recherche fondée sur l’art dans le cadre de ce projet a été inspirée par les projets de recherche artistique menés par Shaun McNiff, Ch...
The metaphor of tonality in artography
2013
The journal promotes multidisciplinary research in the Arts and Education and arose out of a recognised need for knowledge sharing in the field. The publication of diverse arts and cultural experiences within a multidisciplinary context informs the development of future initiatives in this expanding field. There are many instances where the arts work successfully in collaboration with formerly non-traditional partners such as the sciences and health care, and this peer-reviewed journal aims to publish examples of excellence. Valuable contributions from international researchers are providing evidence of the impact of the arts on individuals, groups and organisations across all sectors of society. The UNESCO Observatory refereed e-journal is a clearing house of research which can be used to support advocacy processes; to improve practice; influence policy making, and benefit the integration of the arts in formal and non-formal educational systems across communities, regions and countries.
Frequency Concept and its Linkage Associated with Relations
The Universe is associated and scuttle with the varying frequency of different entities. The practical application of these frequency flows ensuing all the happenings has been discussed with the help of existing substantiation through this theory. The disparity associated with the regular lifestyle of a living body is directly related to the energy and in turn the frequency within them. The well inherent feelings such as happiness, sorrow, meeting, separation, joy, anxiety, love, hatred and everything occurrence is due to the some or other frequency communication in both constructive and destructive approach. Answers of many questions linked with the regular life and sudden occurrences have been discussed using many practical encounters to establish the concept of frequency transmission, match, mismatch and expected or unexpected final outcome. Special emphasis has been made with the development of child and the outcome expected through constant positive frequency transmission.
Sublime resonance The auditory experience between art and media
2020
Resonance is relevant to an aesthetic theory of media. In fact, since aesthetics has begun being committed to the understanding of the nature and functioning of media, also outside their usage in art, the medium has been recognized as a tool by the means of which sensations can resonate to our sense organs. This is especially the case for Rudolf Arnheim’s theory of radio. Furthermore, we can say that, through media, it is our very experience that acquires a peculiar quality of resonance. In Arnheim’s account, the aesthetic experience bound to the listening of radio dramas can be shaped and driven according to new aesthetic values, because of representing the imaginary space of action only by means of the resonances artfully created by skilled radio drama writers and directors, and eventually perceived by the audience. This broader sense of resonance attributed to media can be found also in Lyotard’s reconsideration of the Kantian sublime as a way for theorizing modern art. In the la...
From Neuroscience to Art: The Role of "Vitality Forms" in the Investigation of Multimodality
Zenodo (CERN European Organization for Nuclear Research), 2022
By observing how actions are performed or by listening to how words are pronounced, people can understand the affective state of others. For example, someone can perform a hand gesture vigorously or kindly or can use a pleasant or unpleasant tone of voice. These fundamental aspects of social interactions, named "vitality forms" by Daniel Stern, enable the receiver and bystanders to understand if the attitude of the agent is negative or positive. Several fMRI studies have investigated the neural correlates of these forms of communication, showing that the dorso-central insula is selectively involved in the processing of vitality forms, regardless the modality in which they are conveyed. In addition to multimodal properties, the dorso-central insula is endowed with a mirror mechanism which, differently from the original one discovered in the parietal and frontal areas, specific for the action goal understanding, might allow us to express our own mood and to understand those of others. Besides social interactions, the mirror mechanism located in the insula plays a crucial role in other aspects of human life. One is the aesthetic experience. In this regard, many studies have proposed that particular artist's creative gestures, like brushstrokes or cuts on the canvas, are the visible traces of goal-directed movements and they should be capable of activating motor areas in the observers' brain. More interestingly, if we associate the same idea to the mirror mechanism of the insula, some properties of the artwork would be processed in the dorso-central insula as results of specific vitality forms. This fascinating hypothesis suggests the possibility of internalizing the vitality forms transmitted by the artistic creation and remapping them in our motor scheme. This would allow not only to relive the artist's action but also his/her affective state, ensuring a complete aesthetic experience.
2016
More and more, the world of art is becoming an attentive listener, as if a terra incognita remained to be explored, another state of the world to be discovered, and an unheard-of experience to be tried. A salutary revelation in which places resonate, and we are inhabited by sounds. This sensitivity to the auditory world applies both to recognized architectural works, as well as to ordinary urban environments, to a building that is considered remarkable, as it is to a square that is regarded as nondescript. In any case, it is a question of paying attention to our ways of living, of auscultating our forms of life, of listening to atmospheres. By listening, we are immersed in a moment of life, a point of existence, a climatic situation, an ambient landscape. We belong to the atmosphere of a place by experiencing its unique tonalities and imperceptible modulations. Thus, a whole world of nuances opens up to us, inviting discovery, with its intensities, variations and dynamics. Sound anchors us in the here and now of the experience, just as it transports us to a world of feelings and memories. In this regard, three principal features characterize ambient sound: resonance, performance, and consistency. Resonance reinforces or emphasizes the faculty of vibrating in unison with the ambience. This means getting oneself in tune with the surrounding world, entering into a kind of sympathy or harmony with it, putting ourselves on the same wavelength. As Jean-Luc Nancy 1 so beautifully says: 'Strike from the outside, clamour from within, this sound body, body of sound, begins simultaneously to listen to a "self" and a "world" which are both in resonance.' Performance refers to the generative and dynamic component of the sound world. Sound is thus presented as the effect of an activity and the deployment of a movement, as the result of doing and time in the process of configuring itself. When we listen to a place, we inevitably feel the marks of time, not an abstract time, the time measured by clocks, but indeed a qualified time, in so doing. In his rhythmanalysis project, Henri Lefebvre 2 rightly highlighted sound's crucial role in capturing ambient dynamics. Finally, consistency reveals sound's sensitivity to situations and its ability to hold together the different variables of a particular context. In the same situation, one may hear at once a crowd walking, the rain as it beats on the footpath, the reverberation of a mineral space, a friendly discussion in progress, or the noise of traffic off in the distance, etc. All of these voices intertwine and combine, creating for the listener a unique diffuse quality, an unusual emotional tonality, representative of the ambient situation. Victor Zuckerkandl 3 spoke in this regard of 'tonal coalescence' in order to refer to the tendency of the sound world to integrate the diverse. What then of this capacity of sound to permeate us and affect us? How does sound invite us to experience a space? What of the atmospheric power of the sound world? Haroon Mirza's artistic intervention at the Villa Savoye generates such queries and raises anew the question of just how we experience an atmosphere.
Dynamical Systems: A Golden Gate from Auditory Physiology to Musical Aesthetics?
2003
From antiquity humanity has sought through scientific enquiry a rational explanation of nature. As artworks were considered an imitation of nature, the same purpose has pervaded the history of the arts. The Pythagoreans were the first to put into mathematical terms the rules for aesthetics, borrowing them from music [1]. Later there arose the concepts of eurhythmy or commodulation: the application of rhythmical movements or harmonious proportions in a piece of music; a painting; a sculpture; a building; a dance. Throughout the Middle Ages, mathematical ideas of proportion lived side by side with the body of artistic activity, but during the Renaissance, the natural sciences and mathematics began a process of separation from the arts, both theoretically as well as in practical terms [2]. One of the reasons for the divorce was that all efforts failed to give a rational basis to the role played by numerical proportions in the aesthetics of an artwork. This lack of scientific rationale ...
Introduction to the Special Topic Section on Arts and Consciousness
The arts have traditionally served a wide range of social functions, from the utilitarian, political, and entertaining, to the sacred, ritualistic, and religious. As such, the arts have always been an integral vehicle of transpersonal development, by uncovering the unconscious and raising consciousness, preserving cultures, and propelling global transformation. Art as primary instinct activates all the senses, our visceral response and intellect; as a language, it compels participation and is often rich in tacit and explicit symbolism. Art forms the transition between nature and culture; it is life giving and life enhancing to individuals and societies (Jung, 1973). Ellen Dissanayake (e.g., 1979, 2003, 2013), an anthropologist and longtime researcher of art as a human behavior—an action rather than object—proposed that when physical survival is not at stake, humans engage in “shaping and embellishing the experienced, sensed, and imagined aspects of ordinary life to make them more-than-ordinary” (1979, p. 27). Dissanayake has coined the term Homo Aestheticus to denote this human predisposition: an orientation toward artification across the lifespan—accompanying child-play as well as elders spiritual ceremonies. Imaginative expression has been intrinsic to our species throughout the history of humanity, from cave paintings, ceremonial artifacts, indigenous rituals, and religious art, to street graffiti, art psychotherapy, art-based research, gallery exhibits, staged performances, and electronic media. This Special Topic Section of IJTS pays homage to the arts as vehicle and medium of consciousness in the gathering of 20 articles, including original research, philosophical pieces, images of artworks, poetry, and book reviews. The contributions are complied as if in conversation with one another, philosophy and expression meet formal research—a discourse that seems to echo a shared conviction among these transpersonal scholar-artists, expressing the importance of the arts as agents of personal and collective consciousness, transformation, and healing.