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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.


After December 1989 in visual art from Iasi were produced numerous changes which have contributed to a new approach of the artistic phenomenon. That was the moment when a new generation of artists appeared and who, unshackle by the rigors of the communist regime, they have created artworks by experimenting the most varied ways of visual expression. An important aspect of this transition period is the place which visual art has it in the culture from Iasi and the aesthetic trends learned by the new generation alongside older artistic directions define the value of the contemporary cultural heritage from Iasi. Also, an important role in the presentation of the visual art from Iasi is the artistic education, which it‟s in a constant development with the advent of new specializations within the Faculty of Visual Arts and Design, highlighting the artistic and scientific potential of the professors and the students of „George Enescu“ Național University of Arts from Iasi.

). Human-Computer Interaction. Taylor & Francis. 13. Sebestyen, G. & Pollington, Ch. (2003). New Architecture and Technology. Oxford: Architectural Press, Elsevier. 14. Simon, H. A. (1996). The Sciences of the Artificial, (3ed.), MIT Press, Cambridge, Massachusetts. 15. Terzidis, K. (2006). Algorithmic Architecture. New York: Architectural Press. Taylor & Francis. 16. Toriya, H. (2008). 3D Manufacturing Innovation. London: Springer-Verlag. DOI: 10.1007/978-1-84800-038-4


In the diverse space of contemporary music, the fascinating and controversial personality of the Welsh composer Karl Jenkins, which is surprising from several perspectives, stands out. Open to assimilating and processing music from various sources (academic, liturgical, folk, entertainment, oriental, exotic), the all-round musician Karl Jenkins impresses the public with unexpected artistic choices, giving up the hypostasis of instrumentalist of the jazz-rock band Nucleus and of the group Softmachine in favour of the postmodern creator he has become today, synthetizing trends from musical compositions of the last decades of the 20th century. Once with the return to the functional system, either through minimalism or through neo-romanticism, the artist has successfully covered a potential sonority path of modern opposites, also evoking references to creative models of the past. We are referring to the musical valorizing of the sacred in a synthetic vision between tradition and innovation, in the works included in the Adiemus cycle, in the opus choir Missa for Peace and, more particularly, in the Requiem (2005), a significant score in the contemporaneity. The manner in which the composer, while resorting to a musical genre originating from the Roman Catholic cult and drawing on the liturgical text of the Mass for the dead, inserted Japanese poetry, written following the structure of haiku, belonging to representative authors - Gozan Koshigaya, Issho Kosughi, Hokusai Katsushika, Kaga-no-Chiyo, is highly surprising. This study aims to highlight the interweaving imagined by Karl Jenkins between the two cultures as well as to conduct a semantic analysis of an opus in which the relationships between music and words entail a highly emotional response.

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References 1. Arbuz-Spatari, O. (2017). Knowledge and Valorisation of Plastic Language and of the Folk Decorative motifs in the artistic Education Study process. Review of Artistic Education. No. 13-14, 2017. Department for Teachers Education. George Enescu University of Arts. Lasi. pp. 151-153). 2. Imonikebe, M. E. (2010), “Creativity and the teaching of visual arts in Schools”. International Journal of Education. CCSD, Accra, Ghana. 1 (1). pp. 77-81. 3. Mihai-Cosmin, I. (2017). Creatvity and Innovation in visual arts through form and space having symbolic value

References 1. Aiello, R., Williamon, A. (2002). Memory . In R. Parncutt, &G.McPherson (Eds.), The Science and psychology of music performance:Creative strategies for teaching and learning (167-181). Oxford:Oxford University Press 2. Bowen J.A. (1993). The History of Remembered Innovation: Tradition and its Role in the Relationship between Musical Works and Their Performances. The Journal of Musicology , 11 (2), 139-173 3. Bowen, J.A. (1996). Performance Practice Versus Performance Analysis: Why Should Performers Study Performance, Performance Practice

(2016), Style in Keyboard Accompaniment in the Seventeenth and Eighteenth Centuries, Routledge, Oxon 13. Osborn Alex Faickney (1963). Applied imagination: Principles and procedures of creative thinking, 3rd edition, Charles Scribner’s Sons, New York 14. Riemann Hugo (1904), Handbuch der Musikgeschichte, Breitkopf und Härtel, Leipzig 15. Sawyer R. Keith (2012), Explaining Creativity: The Science of Human Innovation, Oxford University Press, Oxford 16. Schauer Frederick (2009), Thinking Like a Lawyer: A New Introduction to Legal reasoning, Harvard University Press

pedagogiei și culturii românești. București: Editura Didactică și Pedagogică. 20. Văideanu, G. (1967). Cultura estetică școlară. București: Editura Didactică și Pedagogică. 21. Walker, R. (2007). Music education: tradition and innovation. Illinois: Charles C. Thomas Publisher LTD.

). “Landmarks of Twentieth century Designs ” New York. Abbeville Press. 10. Howard, L. I. W. (1989) “Hegel, Heraclitus, and Marxs Dialetic”. Harvester wheat sheaf, Pub.London. 11. Ira, G. (1986) “Dialectical materialism”: Its Laws, Categories and Practice, Petras Press NY. New York. 12. Kimbell, R. (2005) “Assessing Design innovation in Technology Education in New Perspectives, Research, Assessment and Curriculum development (eds) Lars Lindstrom Vol 17. Stockholm Inst. Of Ed Press/pub 13. Livingston, N. (1990) “ Between Science and Literature ”: An Introduction to