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, Giddins, 2009:115). Paul Whiteman's orchestra played a major role in the fusion of jazz with symphonic and popular music. His arrangement for Walter Donaldson's Changes (1927) used a string section, jazz-pop vocal singing, and solo improvisation. The suggestive title of the work reflects the wealth of innovations brought in instrumentation, improvisation, harmonic, rhythmic and melodic progressions (Deveaux, Giddins, 2009:117). In this period of time French composers continued to make important contributions, for example: Georges Auric - Adieu, New York (1920

distributed by technological means. The presentation will address some of the complex aspects of technological innovation and their impact on educational methodologies in the field of arts. Due to the concession to which this presentation is subject, we will try to answer only some of the fundamental questions that arise in understanding the relationship between technology and creativity as a prelude to innovation in art: - How does technology influence creativity in artistic education? - Does breaking barriers between art and technology affect positively or

only a step. And so Soler becomes our contemporary, because "the important works of past centuries are contemporary to us as soon as they become a living musical presence."(Bentoiu, 1973: 153) III. Sonata in G major, R. 64 – Analytical perspectives with contemporary resonances One of the purposes of Padre Antonio Soler's sonatas for keyboard instruments is the didactic utility - like Scarlatti’s Essays (Essercizi) -, the technical innovations of arpeggios, scales, leaps over registers, crossed hands, octaves, thirds, trills, etc.) serving for technical and

receiver by the constant stylization of form, from the intertextualities marked in the novels of youth, to the essence of language, the synthetizing of the characters and the structural economy that we find in the mature writings, especially in the case of dramaturgy. In fact, what impressed us in our research dedicated to the study of this author was just the Beckettian "volatility", in the sense of the continuous transformation of form. Beyond the thematic and structural relapses, we can guess an appetite of the bilingual writer for experiment and innovation

scene of Romanian composition. The senior generation, who had debuted around 1960 (Anatol Vieru, Ştefan Niculescu, Tiberiu Olah, Theodor Grigoriu, Aurel Stroe, Miriam Marbe, Cornel Ţăranu a.o.), is situated at this moment in the period of artistic capitalisation on their own innovations in monumental works and/or continues the search for new forms of expression. Generation 19704 (Nicolae Brînduş, Corneliu Cezar, Lucian Meţianu, Corneliu Dan Georgescu, Octavian Nemescu, Ulpiu Vlad, Iancu Dumitrescu, Costin Miereanu a.o.) features the composers who fully

the camp. The suitcases, which sent to the crates in which the puppeteers kept their puppets, as well as to those in which the prisoners brought the things they could carry in deportations, maybe condense the perspective proposed by the two shows on the represented universe: when the puppets tell the concentrationary inferno the tenderness humanizes the horror. Acknowledgments This article was supported by a grant of Ministry of Research and Innovation, CNCS - UEFISCDI, project number PN-III-P1-1.1-PD-2016- 1124, within PNCDI III. CNFIS-FDI-0537

, I would opt for the well-tempered innovation. The man who would decisively dominate the modern musical scene of Bucharest, first through his conducting stature, then through the management of the Bucharest Philharmonic and Opera would be George Georgescu (1887- 1964). His imprint on the institution is substantial especially in his mandates from the interwar period, the Georgescu era (1920-1945) fitting with the significant synchronisation of Romanian culture with European models. Professionalisation and internationalisation would label this period in which

Abstract

The numerous plastic approaches of form in the 20th century are characterized by creativity and innovation. Form, as expression of an artistic language, is the cause and effect for the cultural evolution of a particular spatial-temporal area. The invention of forms depending on the factors which will impose them in a particular socio-cultural context and location environment is not everything. The challenges of the act of creation are far more complex. For the art of the 20th century, the role of the type of expression in visual or gestural language proved much more convincing and meaningful as to the data or phenomena occurring in immediate reality. The personality of the artist, his cultural character, his media coverage and exterior influences of his inner world, his preceding experiences and receiver’s contacts in a specific area are the factors that influence the relation between the work of art and the audience against a particular spatial-temporal background. The psychological and sensory processes in works of plastic art are spatially configured in structures, which leads to self-confession. The artist filters the information and the elements of exterior reality through the vision of his imagination and power of expression specific to his inner self, and turns them into values through the involvement of his state of mind. Constantin Brâncuşi is the sculptor whose role was considered exponential as he revolutionized modern artistic vision by integrating and creating space-form relations through symbol. Throughout his complex work - the Group of Monumental Sculptures of Tg. Jiu, the artist renewed the language of the sculpture-specific means of expression, though archaic forms, by restoring traditional art. Archetypes often make reference to the initial and ideal form and they represent the primitive and native models composing it. Form attracts, polarizes and integrates the energy of the matter outside the human body, and art acquires a unifying function for the senses of our spirit. We identify the forms developed by the junction between fantastic forms, the figments of the imagination of artists who communicate deep human meanings. They invite us in a world of constructive forms and mysteries, truly innovative and elaborate creations, by underlying different directions in the compositional space with symbolic value.

Summary

This article is dedicated to the “Baltars” collective porcelain painting workshop (1924–1930), founded in Riga, Latvia by three modernist artists: painters Romans Suta (1896–1944) and Aleksandra Beļcova (1892–1981) and graphic artist Sigismunds Vidbergs (1890–1970).The “Baltars” phenomenon is significant because of the innovations that the artists brought to the landscape of Latvian porcelain manufacturing and its exhibition activities in the 1920s and the early 1930s, both local and in the Baltic Sea region—Lithuania, Estonia, and Sweden. The article investigates “Baltars” foundation and closure, artistic activities of the company, its attempts to enter the international art and trade scene, and its accomplishments. Special attention is paid to the amalgamation of modernisation, nationalism, and state-building manifested in their paintings on porcelain. Due to the present growing interest in porcelain art in Latvia, triggered by numerous exhibitions and publications, discourse on the “Baltars” phenomenon has become topical.

Summary

The process of questioning the authority of academic history—in the form in which it emerged at the turn of the 19th century—began in the 1970s, when Hayden White pointed out the rhetorical dimension of historical discourse. His British colleague Alun Munslow went a step further and argued that the ontological statuses of the past and history are so different that historical discourse cannot by any means be treated as representation of the past. As we have no access to that which happened, both historians and artists can only present the past in accordance with their views and opinions, the available rhetorical conventions, and means of expression.

The article revisits two examples of experimental history which Munslow mentioned in his : Robert A. Rosenstone’s and Hans Ulrich Gumbrecht’s . It allows reassessing their literary strategies in the context of a new wave of works written by historians and novelists who go beyond the fictional/factual dichotomy. The article focuses on Polish counterfactual writers of the last two decades, such as Wojciech Orliński, Jacek Dukaj, and Aleksander Głowacki. Their novels corroborate the main argument of the article about a turn which has been taking place in recent experimental historying: the loss of previous interest in formal innovations influenced by modernist avant-garde fiction. Instead, it concentrates on demonstrating the contingency of history to strategically extend the unknowability of the future or the past(s) and, as a result, change historying into speculative thinking.