Trying to dive deeply into social dimension of everyday aesthetics one can find himself being an everyday artist. A possibility of seeing beauty in all the objects, ideas and actions from a somebody’s daily routine defines a new figure of the artworld who is no more just an artist or just a viewer, but – a perceiver. Art Agenda is a clutch of everyday capturing my works from first to thirty-second of May 2014. / Kai giliai paneri į kasdienybės estetikos socialinę dimenciją, patiri jausmą, kad esi kiekvienos dienos menininkas. Kai turi galimybę pastebėti grožį visuose objektuose, idejose bei veiksmuose, sklindančiuose iš tavo rutinos, tuomet tampi meno pasaulio asmeniu, kuris nebėra jau vien tiktai meno gamintojas ar meno žiūrovas, bet - stebėtojas. "Darbų kalendorius" - tai mano kasdienybės ryšulys, kuriame yra užfiksuoti darbai nuo šių metų gegužės pirmosios iki trisdešimt antrosios dienos.

Darbas skirtas tradicinių civilizacijų kultūros, meno simbolinės raiškos bei estetikos tyrinėjimams. Darbe apžvelgiami simbolinės kalbos suvokimo prielaidos ir funkcijos, išryškintos tradicionalizmo diskurse, taip pat svarbesni estetiniai ir kiti jų raiškos požymiai. Remiantis minėto diskurso perspektyva, aptariami ontologiniai pasaulio sąrangos principai ir jų sąsajos su tradicinėmis doktrinomis bei teorijomis. Analizuojami esminiai tradicinio ir modernaus mąstymo vertybinių sistemų skirtumai bei kūrybinio kelio ypatumai. / This thesis examines culture of traditional civilisations, its' symbolical expression and aethetics of art. The paper gives an overview on symbolic language perception assumptions and functions developed in the discourse of traditionalism, as well as important aesthetic and other features of their expression. On the basis of that discourse perspective, there is given a concept of worlds' ontological framework within the traditional doctrines and theories as well as analysis of essential differences between traditional and modern thought and value - systems.

Šiame diplominiame darbe autorė apžvelgia buvusius ir dabartyje taikomus molbertinės tapybos dubliavimo metodus bei naudojamas medžiagas. Aprašomi žinomi paveikslų dubliavimo būdai Europoje.Nagrinėjami molbertinės tapybos paveikslų dubliavimo metodai LDM Prano Gudymo restauraimo centre, taikyti nuo įsikūrimo iki šių dienų. Lyginami įvairūs, skirtingų kūrinių konservavimo, dubliavimo atvejai. Detaliai aprašomas paveikslo "Biblijinė scena" konservavimo, dubliavimo procesas. Šiame darbe senieji žinomi molbertinės tapybos dubliavimo būdai bei panaudotos medžiagos lyginami su dabarties praktika ir metodais. Tyrimas atskleidė, jog kiekvienam darbui reikalingas kūrybiškas, metodiškas, mokslinis paveikslų konservavimo, dubliavimo metodas bei taikomos medžiagos. / Author of this Master’s Thesis reviews former and present methods and techniques of the lining of canvas paintings. Furthermore, all known European lining methods are described. Lining methods of the canv-as painting applied in Pranas Gudynas Center for Restoration since its foundation until present days are reviewed. Author reviews various cases of conservation and lining of the canvas paintings in Lithuania. Thesis describes in details conservation and lining process of the painting “Biblical Scene”. Old canvas paintings methods of lining, including the material used for lining, are compared in this Master’s Thesis. Research made reveals the fact that each piece of art needs creative, methodological, scientific approach to the conservation and lining methods and the materials used.

Pirmojoje darbo dalyje nagrinėjama dizaino nauda edukacijoje. Ši dalis skirta teorinių šaltinių analizei, dizaino galimybių edukacijoje pavaizdavimui, apibrėžti šiuolaikinės mokyklos problemas ir dizaino galimybes joje. Antroji darbo dalis skirta apžvelgti užsienio ir Lietuvos dizaino ir kūrybingumo pasireiškimą edukacijoje. Trečiojoje dalyje, yra kuriamas paslaugos konceptas vadovaujantis dizainerio mąstymo ir paslaugų dizaino metodais. Ketvirtoje dalyje, atlikta galimybių analizė remiantis Dizaino receptų paslaugos įvedimo į rinką pavyzdžiu, įvardintos projekto vizija ir misija, atlikta PEST analizė, sukurta objektų kolekcija Dizaino receptų sistemai. / Design education benefits are analysed in the first part of this work. First part is dedicated to theoretical model analysis, in order to emphasise esential aspects of design which could be used in education. Second part is to observe Lithuania’s and foreign cultural-educational projects and cases. Third part is a concept of a service based on design thinking and service design methodologys. Fourth part shows posibilities study based on Design recipes service concept. Several researches were carried out, such as PEST analyses, an interview with arts and crafts teachers. Collection of design objects was specially created for Design recipes educational system.

Raižau nebaigtus objektus. Pasirinkau Kaliningrade stovinį "Dom Sovietov", jam draugėn atsirado buvusiame Leningrade esantys "Dom Sovietov" (Sovietų namai). Juos jungia ne tik toks pat pavadinimas ,bet ir tai ,kad jie niekada nebuvo iki galo pabaigti - prie pirmojo pastato Kaliningrade darbai sustojo baigus statyti 90 proc. objekto, antrasis ,nors ir baigtas konstrukcine - architektūrine prasme ,niekada nebuvo naudotas pagal paskirtį, kuriai buvo statomas... Taip išsirikiavo vienu ar kitu būdu neužbaigti 7 pastatai - objektai. Vienu atveju tai tik projektas popieriaus lape (administracinis pastatas, planuotas statyti dabartinėje Lukiškių aikštėje) , kitu - vienintelis išlikęs objektas - nuoroda į nepastatytus grandiozinius "Sovietų rūmus". Bandau būti tuo "inžinieriumi", kuris mėgina juos užbaigti raižydamas. Suvienodinu ir nefragmentuoju, sieju juos į visumą ,nesvarbu iš kokio laikmečio šie objektai yra. Aiškinuosi, kokia tų objektų padėtis dabar, žlugus sistemai, ar galima juos atsieti nuo aplinkos ir iš naujo permąstyti ? Prie kiekvieno pastato palieku trumpą jo "biografiją". Taip pat cikle spekuliuoju savo senelio, inžinieriaus, "garbės lenta" - ten įrašau savo vardo raidę , taip ją (lentą) pasisavinu ir jungiu su raižiniais. / Print cycle of unfinished soviet era buildings - objects. As example there could be "House of soviets" in Kaliningrad by means of construction unfinished building. In pair to him stands "House of Soviets" in St. Petersburg, in this case building unfinished mentaly. I'm trying to be that engineer who finishes these objects on paper.

Laiko mašina Laiko mašina - neišrastas, bet kiekvieną dieną matomas daiktas - veidrodis. Matomas atspindys veikia pasamonę, o besikeičianti šviesa - apmąstymus: kas buvo lieka už nugaros, kas bus stovi prieš mus. Aš svajoju, žvelgiu į dangų, neišsipildžiusios svajonės žvelgiu žemyn. Lygiagrečiai susiduriame su kasdieniniais pasirinki-mais - kairė ar dešinė. O viso to centras esu AŠ. / The Time Machine The Time Machine - invented, but every day visible object - a mirror. Visible reflection does the subconscious mind and changing light - reflection: What has been left behind, who will be standing in front of us. I dream, I look at the sky, I look down unfulfilled dreams. In parallel, we encounter everyday-tion's choice - left or right. And all that I am the center.

Apie ėjimą pasivaikščioti. / On going for a walk.

A dissertação visa alçar uma reflexão sobre a produção e contribuição crítica de Mário Pedrosa para a arte brasileira, como também identificar alguns de seus paradigmas artísticos que colaboraram para a consolidação de um arcabouço teórico para História da Arte Moderna, tanto no plano nacional, quanto internacional. Objetiva-se delinear a relação entre o que Pedrosa absorveu sobre as teorias gestálticas e exemplos de como ele as aplicou na tessitura de seu discurso crítico. Ao sedimentar o foco de análise no envolvimento do crítico brasileiro com o tema da psicologia da forma, propõe-se ressaltar as implicações estéticas de seu estudo pioneiro Da natureza Afetiva da Forma na Obra de Arte. Pretende-se, ainda, identificar a intersecção entre a psicologia da forma e a crítica de arte de Mário Pedrosa, propondo a influência destas teorias nos textos sobre a obra do artista americano Alexander Calder, artista considerado pelo crítico, como o emblema da estética abstrata construtiva. Busca-se verificar como as teses da psicologia da forma ofereceram ao crítico, subsídios conceituais para uma nova relação com as premissas constitutivas e cognitivas da estética abstrata. / The thesis aims at reflecting on the critical production and contribution of Mário Pedrosa to Brazilian art, as well as identifying some artistic paradigms, which contributed to the consolidation of a theoretical framework for the History of Modern Art, both at the national and international levels. The purpose here is to outline the relationship between what Pedrosa absorbed about Gestalt-based theories and examples of how he applied them in constructing his critical discourse. By focusing the analysis on the Brazilian critics engagement in the subject of the psychology of forms we propose to emphasize the aesthetic implications of his groundbreaking study Da natureza Afetiva da Forma na Obra de Arte (On the affective nature of forms in the work of art). We also intend to identify the intersection between the psychology of forms and Mario Pedrosas art criticism, pointing the influence of these theories on texts about American artist Alexander Calder, considered by the critic the symbol of constructive abstract aesthetics. We sought to verify how psychology theses on forms offered the critic conceptual material for a new relationship with the constitutive and cognitive premises of abstract aesthetics.

The purpose of this study was to measure the effects of specially designed instructional strategies utilizing an art criticism model upon the perceptual differentiation and compositional drawing skills of college students. The an elementary art education course.All subjects received instruction in the studio activities of drawing and painting during the ten week treatment period. The three experimental groups received additional instruction in art criticism.Instrumentation consisted of the Group Embedded Figures Test, a standardized measure of perceptual differentiation, and the Student Composition Rating Scale, a measure developed by the investigator to quantify judgments of five expert judges on compositional skills displayed in drawings. Each instrument was administered as a pre- and post-test for all groups.Three null hypotheses were tested which maintained no significant differences for perceptual differentiation or compositional drawing skills among the three experimental sample consisted of 86 students enrolled in four sections of groups or between the experimental and control groups. A fourth null hypothesis maintained no significant difference between field-dependent and field-independent subjects on compositional skills displayed in drawing. These hypotheses were tested using multivariate analysis of variance and covariance. The .05 level of confidence was established. Inter-rater reliability was computed and found to be high for pre- and post-test SCRS measures.Findings and Conclusions1. All groups experienced gains in skills of perceptual differentiation. This result suggests that involvement in concentrated art activities, whether limited to studio activities, or coupled with the more cognitive aspects of art criticism, has the potential for increasing the visual perceptual skills of college students.2. The experimental groups significantly outperformed the control group on compositional drawing skill.This result suggests that the art criticism model did assist in the development and utilization of compositional strategies.3. No significant difference was found in perceptual differentiation or compositional drawing skills among the three various approaches to the implementation of the art criticism model. It would appear that student involvement with the structured analysis matrix determining factor, rather than the focus of criticism, or the degree of student involvement.4. Students who display greater skills of perceptual differentiation also display greater utilization of compositional strategies in drawing. This finding supports earlier contentions regarding the relationship between perceptual differentiation and art production.

Thesis (doctoral)--RWTH Aachen. / Includes bibliographical references (p. 357-411).