This study critically reviews four works of the artist Joanna Rytel with the intention to find out if and how she is provocative. In order to do that I have studied the reactions on these works, mainly through press material, which differs from letters to the editors and comments posted on discussion forums that's also been used. My conclusion is that Rytel provokes not just because of her choice of subject, but because of her concept of 'art' doesn't agree with the general public's, i.e. 'art' is supposed to be something merely beautiful. The journalists sometimes seems provoked by Rytel's ability to draw attention and have claimed that to be her main aim.

Social advertising is a widely accepted means evoking the sense of responsibility in people and helping to deal realistically with the problems of social risk groups of people (narcotic and alcohol addiction, violence, etc.). Social advertising not only spotlights these problems and suggests ways of solving them, but also promotes help and tolerance for the members of the above mentioned social risk groups. The object of the social advertising on the preventive subject ‘Mania’ is polygraphic press: posters, booklets, pocket calendars and table calendars. Six urgent social problems are dealt with in this work: indifference, narcotic addiction, tobacco addiction, violence, compulsion and alcohol addiction because people unconsciously reject the denial. The moral should be made indirectly, allowing the consumer himself/herself to comprehend the negativity of the problem. Therefore, I use the associatives in my works allowing individuals to conceive the process of creation as the essential peculiarity of the individual’s life and social environment in respect to idealistic culture and society. Associatives give space for interpretations in connecting one’s knowledge with new information. The main hypotheses in the work are the following ones: preventive advertising is expected to have an effective informative influence using associative symbols in respect to action and place; the outlined stylistics of the prospect makes contrast with a sharp preventive subject. ... [to full text]

SUMMARY Temporary and permanent shells are found in nature which transform with a growing organism and change their form while the organism develops or they are get rid off and grow up again thgrough the living cycle they serve as means of protection. In some cases, we can compare shells with person‘s emotinion states. Individ‘s innerworld, in which, he for some reasons closes in, we can call „shelter“ – he closes in willingly, in other cases the shell might be thrusted by other subject, or by other psychologically or physically stronger individs. Willinglly closed individ, is followed by such subjects as: closeness, not communicating, not improving, torpidity, separation from the world, from inovation. Individ closes in himself, separates from society, feel push off, misundertood. Either society is closed for individual for his not knowing, unwill to understand, to accept him the way he is, for losing relations, for interests missunderstanding, for difference of psichical possibilities. This is a topical issue which excites the minds of not only ordinary people but also artists, sociologist and scientists.

Contemporary Lithuanian fine art is the art based on certain principles of thinking, new approach to meanings and functions of creation. The progress of art is induced by talented artists and looking at the contemporary Lithuanian fine art one can see how often for artists it is important not only to express themselves in artistic creation, but also be the bellmen of the society and talk about important subjects. The historic myths are the part of the old world, which is present in our culture: literature and fine art. Art of the old myths is the memory of the cultures, verbal expression and tradition. The theme of myths in art pieces helps the artist to talk about the problems within his interests as free and individual interpretation of the myths is the peculiarity of contemporary art. According to the artists the good art is such art, which keeps up with the times and manages to exercise the effect on the spectator and convince him/her. That is why a good artist uses the myths as a tool in his/her creation and via such old myths he/she manages to talk about the topical issues of today. As the myths have their own polysemous meaning, they do not need rationalistic interpretation. It is interesting and most of all – suggestive. The symbols of myths help the artists to express their ideas in a more purposeful way and they assist the spectators in better understanding of the piece of art, which already acquires literary connotation. The content of the art creations... [to full text]

Experience and perception of deaf teenagers is different from their pairs. These differences may have an impact on the learning process, behaviour and artistic expression of deaf teenagers. Deaf teenagers usually perceive the meanings specifically and literally.They lack the flexibility of imagination and creativity. At the same time traditional, directive education does not disclose deep creative powers of deaf teenagers, which are characteristic of spontaneity and impetuosity. The purpose of this study is to explore the possibilities of using non-directive art methods in the development of deaf teenagers. Objectives of the study are the following: to study literary resources of pedagogy, psychology and art therapy that examine the problems of deaf teenagers; to research characteristics of pedagogical interaction in the development of creativity of deaf teenagers; to analyse the impact of art therapy process for the emotional change of deaf teenagers, and to reveal the possibilities of art as a means of artistic communication in the development of creativity of deaf teenagers. The research object is the creativity of deaf teenagers. Hypothesis: using art in the development of creativity of deaf teenagers is effective if a safe psychological context is created in the educational process during which they can freely express emotions and share experiences by artistic means. Research methods: analysis of literary resources, case study, observation by participation, conversation... [to full text]

Greitas asmeninių kompiuterių plitimas, kompiuterinių technologijų didėjantis prieinamumas gamyboje ir individualioje kūryboje paskatino naujos subkultūros atsiradimą. Atsirado protrūkis tradiciniam meniniam mąstyme, suvokime. Tai aiškiai matyti iš mokinių veiklos, jų vaizdų suvokimo ir pakitusio požiūrio į dabartinę aplinką. Problema. Bendrasis meninis ugdymas nėra pakankamai veiksmingas: tenkinamasi savaimine moksleivių saviraiška, per mažai ugdomi meniniai ir suvokimo gebėjimai. Todėl aktualu įvesti į dailės mokymą kompiuterinę grafiką, kaip būdą, padedantį suvokti dailės kalbą. Šiame darbe aptariamos kompiuterinės grafikos galimybės: kaip ir kur ją galima panaudoti meniniame ugdyme, mokant dailės kalbos, aptariamos pagrindinės jos didaktinės galimybės. Eksperimento metu gauti duomenys padės išsiaiškinti, kaip pakils mokinių dailės kalbos suvokimo lygis, jeigu kartu su tradiciniu dailės mokymu bus naudojama kompiuterinė grafika, kiek padidės mokinių kūrybinių galių diapazonas. Tyrimo objektas: Kompiuterinė grafika kaip dailės kalbos mokymo priemonė. Tyrimo tikslas: Nustatyti kompiuterinės grafikos galimybių įtaką, mokant paauglius suprasti dailės kalbą. Hipotezė: Dailės kalbos pažinimas taps efektyvesnis naudojant kompiuterines grafikos galimybes dailės pamokose. Tyrimo uždaviniai: 1. Apžvelgti kompiuterinės grafikos galimybių panaudojimą meninėje kūryboje ir dailės ugdymo procese.2.Išanalizuoti mokinių vizualios raiškos teorines žinias 3.Nustatyti kompiuterinės... [toliau žr. visą tekstą] / The rapid spread of personal computers, the use of computer technologies in mass production and individual creative work have encouraged the appearance of the new subculture. The traditional artistic thinking and awareness have to be changed. This is clearly understood seen in student’s activity, their imagination and a changed view of today’s environment. The problem. General art education is not sufficient enough: student’s self-expression is limited, artistic skills are not being well developed. That is the reason why computer graphics should be introduced in to school curriculum in art as a means helping to understand the language of art. This paper deals with computer graphics capabilities: how and where it can be used in the artistic education, what its basic didactic possibilities are. The data, got obtained as a result of the experiment, will help realize how the level of students’ understanding of the artistic language will rise if computer graphics is used alongside with traditional art education, how the range of students’ creative abilities will widen. Research subject: Computer graphics as a tool of art’s language teaching. Research objectives: The influence of possibilities of computer graphics wile teaching adolescents to understand art’s language. Hypothesis: The understanding of the language of art will become move effective by means of using computer graphics at art lesson. Research tasks: 1. To survey the employment of computer graphics possibilities in... [to full text]

Labai svarbią dalį katalikiškose liaudies pamaldumo praktikose užima šermenų giesmės, maldos ir apeigos. Anot „Liturginio maldyno“, „Šermenys, arba budynės, – tai budėjimas prie numirėlio iki laidotuvių“ . Laidojimo laikotarpiu etnografiniuose Lietuvos regionuose yra apstu įvairių giesmių, maldų ir apeigų. Tai ir Kryžiaus kelias, Žemaičių Kalvarijos kalnai, Švč. Jėzaus Vardo rožinis, Gedulinės valandos už mirusiuosius. Dzūkijoje šalia raudų giedami „Graudūs verksmai“ ir gedulinės valandos; Suvalkijoje – Švč. Jėzaus Vardo rožinis; Aukštaitijoje – 14–os stočių Kryžiaus kelias, o Žemaitijoje – Žemaičių Kalvarijos kalnai. Taip pat regionuose, kurie ribojasi su protestantų ar stačiatikių kraštais, dažnai giedamos Gedulinės valandos. Visus Lietuvos etnografinius regionus vienija šermenų apeigiškumas ir šermeninių giesmių giedojimas. / Funeral chantings, prayers and ceremonies play very important role in all catholic folk piety practices. During funeral there are lots of various chantings, prayers and ceremonies in all ethnographical regions of Lithuania. For example in Dzūkija (the southern part of Lithuania) aside from lamentations people use to chant Officium defunctorum (psalms for the dead) and pathetical mournings, remembering the Passion of Christ; in Suvalkija (south western part of Lithuania) is chanted the Rosary of The Name of Jesus; in Aukštaitija (the eastern part of Lithuania) is chanted the Way of the Cross (with 14 stations) and in Žemaitija (the western part of Lithuania) are chanted 20 stations of Calvary, called Samogitian Calvary way. In areas that border with protestant or orthodox traditions, there are performed Officium defunctorum quite often. And all the regions of Lithuania are unified by the ceremonies of funeral and funeral chantings.

MSTISLAW DOBUZHINSKII’S WORK AT THE STATE THEATRE [KAUNAS, LITHUANIA] By Živilė Ambrasaitė Stage designer Mstislaw Dobuzhinskii is best known as Russian artist in Western countries. But not less important part of his works (almost 40 stage settings for opera, ballet, drama plays) were done in 1925, 1929-1939 years in Lithuania – a country that Dobuzhinskii’s roots come from. Alas, the Dobuzhinskii’s Lithuanian period activity and artistic achievements are not well known abroad. Yet studies of his works in The State Theatre in Kaunas (temporary capital of Lithuania) wish to hope the comprehensiveness even in Lithuania. The author of this study discusses the main Dobuzhinskii’s works for The State Theatre in different contexts, reviews and artist’s influence on theatre scenography perception. Dobuzhinskii established main aesthetic ideas of World of Art society – revival of cultural traditions, neo-romantic stylization and retrospectivism. His art of stage decoration encouraged young Lithuanian artists to come out with their own ideas of all main components of a play uniting.

SUMMARY Master’s Thesis “Equipment of Seasonal Entertainment Complex Made out of Portable Constructions” encompasses several objects. This is a work of complex design where a sense of ensemble and harmony is very important. While creating the parts of the complex, unfailing resources of bionic forms were the base for it. Improvised forms of animate nature enable to create unusual objects which have specific stylistics, tectonics, rhythmic and character. Exactly nature is the unfailing source of new ideas according to both functional and aesthetical points of view. Light constructions and dynamic bionic forms integrate the entertainment complex into a natural environment organically. Moreover, it functions as equipoise to hard and cold stylistics of blocks of flats. The complex is a seasonal one; that is why an idea of portable constructions was chosen. Thanks to this a seasonal and complex space for entertainment and recreation is formed. Even an elementary object of architecture cannot be imagined without a structural constructional framework. In modern architecture, structure is one of the elements of plastic expression (Mogilnickas (1995) Techninės estetikos pradmenys / Basics of Technical Aesthetics [in Lithuanian]). Portable metal constructions and modern textile architecture form an impression of lightness and provide the entertainment complex with an exceptional character. When operating with the material and creating a material, functional form, professionalism... [to full text]

Šiauliai City Dainai Park. A playground for children “Mažylis” (a little child) A playground for children “Koriukas” (a little honeycomb) An athletic field A recreation zone “Sala” (an island) A recreation zone - fountain “Žiedas” (a ring).