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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Đenita Kuštrić;

    In the second half of the 20th century, the great technological innovation of synthetic plastic matter as a natural materials surrogate created a major shift in postmodern fine arts as in total civilization. Initially invented to preserve endangered natural resources, overtaking the salvific role, fine arts technologists began to make substitutions and copies of artifacts which needed to speak for the original in their protected absence. For the past several decades it has been scientifically proven that these synthetic masses are not biodegradable. They achieve an aura of endurance and become “super-originals”. Where there is a substitute, a synthetic surrogate, the original is in its absence what I call the “ghosting object”. This principle of the indirect comprehension of life and anthropogenic alternations will deeply influence human communication in general. Living in such a mediated, time-relational reality, one of the tendencies identified and presented here is the reverse archaeology approach — making a past-related artifact from the future. Reverse archaeology is about using fragments of past eras to deduce an image of the vanishing world which produced them and generate a fragment of the world to come.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ INSAM Journal of Con...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ INSAM Journal of Con...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Sandra Bjelan-Guska; Nela Hasanbegović;

    The development of technology has significant implications for human creativity. The nature of creative processes is being redefined, and technology is playing an increasingly important role in creative activities, becoming a tool or an extension of the creator's hand helping to integrate a new idea. Implications are also evident in the teaching of fine arts, enhancing the possibilities of stimulating students’ creativity using computer software. This assisted creation system is empowering for the student, as it enables him / her to acquire new abilities and a wide range of creative skills, as well as facilitating the formation of personal semantics. In order to determine the possibility of using computer software in the teaching of fine arts, research has been conducted among subject teachers. The aim is to determine the extent to which teachers of fine arts are familiar with software suitable for visual design, to establish whether they use it in their educational work, and to examine the methodical specifics of the realization such teaching. The results of the research are significant for the processes of designing initial university education programs, as well as in programs for lifelong professional teacher training, both for the purpose of educating teachers about the possibilities of using computer software and their impact on enhancing students’ creativity. The results can be a real boost for teachers who want to complement and strengthen their educational practice.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ INSAM Journal of Con...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ INSAM Journal of Con...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Dino Rešidbegović;

    Music composition today present a challenge for every composer, student and professor. In addition to the huge amount of information and technology that are part of modern composition, there are different approaches to the usage of notation within various forms of information and technology. This paper is based on the definition, role and application of notation in compositions. It attempts to define and explain a different, specific approach, which helps in understanding the technology, its applications and features to meet the problems of present compositions by using specific notation for electronic instruments or computers. The paper contains three sections with additional information on the problems, the different types of notations, and the possible solutions. The final result is the description of a connection between the electronic parameters of different instruments and the composition through the ARGN approach (Approximate Reductionist Graphical Notation), which is achieved by means of notation and composition of the parameters of electronic instruments. The ARGN approach contains elements of artistic and theoretical practices based on an interdisciplinary perspective; of the composer, engraver, performer, and improviser, which today represents a profile of a contemporary composer.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ INSAM Journal of Con...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ INSAM Journal of Con...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Anja Orozović;

    E. T. A. Hoffmann was a multi-talented artist who was not only known as a writer but as well as a composer and a draftsman. These talents can be noticed through various traces within his literary work. The references to the fine arts characterize Hoffmann’s entire oeuvre from the early to the late phase. The interest in certain artists and works, which Hoffmann adopted both in Dresden and during the Bamberg and Berlin periods, can be encountered through various references, especially within his narratives. The presented article includes three story collections: Fantasiestücke in Callots Manier,. Blätter aus dem Tagebuche eines reisenden Enthusiasten (1814/15), Nachtstücke (1816/17), and Die Serapionsbrüder (1819/21). It begins by referring to Hoffmann’s engagement with various artistic models, and then goes on to examine the traces of these encounters. The approach divides the references into four categories that within selected narratives reference to different features. Hoffmann not only relays on the traditionally painterly genres of fantasy and nocturne, but also attempts to transpose their characteristics into literature. The works of visual artists can serve as narrative prompts, or to shape the protagonist and landscape depictions. The above-mentioned references contribute to a better understanding of Hoffmann’s narrative work, both on the poetological level and on the level of content.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Journal of the Facul...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Journal of the Facul...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Hanan Hadžajlić;

    The composition XO pt. II for flute with processors, amplified cello, amplified piano and analog sound synthesizers, by Dino Rešidbegović, was published in 2016 as an electroacoustic adaptation of its previous version, XO for undetermined instrumentation. The phenomenon of the notation of both versions, presented through the graphic score, comes from the very idea of/about the composition. The score is divided into nine squares which form a network with incorporated abstract shapes of different colors. In the middle of the score is a chart of a spectral analysis of the composition The Impact ofthe Analog Synthesizer for ensemble, also by Rešidbegović. The only difference between the scores of the two versions is the instrumental parameters table involved in XO pt. II for three performers. The main task of this paper is primarily the analysis and comparison of two interpretations of XO pt. II by the same three performers, with a difference in duration of almost 19 minutes. The goal is to reconstruct and explicate the improvisation as a potential basis for a compositional-technical analysis. A composition-interpretation-improvisation processes chain represents the main structure of the general process which forms the composition XO pt.II, involving composer and performers – interpreted as equal, interdependent creators of the musical work.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ INSAM Journal of Con...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ INSAM Journal of Con...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Tomasz Eugeniusz Malec;

    The article presents a theory of cultural and noncultural factors’ influence on spatial development at its current state. The culture of every nation includes both tangible and intangible elements, developed to various stages. Just as there are nations that have created rich culture, there are also those that, in spite of rich intangible culture, did not create a distinct architectural style, mostly adapting to their needs patterns from other cultures. Adaptation of non-native models in the tangible field of spatial development is not due to a nation’s cultural poverty, but rather to its cultural characteristics and the impact of other, noncultural factors. Therefore, identification of factors influencing spatial development is a complex task of an interdisciplinary nature. These noncultural factors are of various characters and strengths; nevertheless, in many cases they remain the most important ones. As proposed in this article, the theory explains relationships between culture, noncultural factors and human needs, and allows us to understand the basic process of spatial development.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ DOAJ; Cogent Arts &a...arrow_drop_down
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Cogent Arts & Humanities
    Article . 2018 . Peer-reviewed
    License: CC BY
    Data sources: Crossref
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ DOAJ; Cogent Arts &a...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      Cogent Arts & Humanities
      Article . 2018 . Peer-reviewed
      License: CC BY
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Đenita Kuštrić;

    In the second half of the 20th century, the great technological innovation of synthetic plastic matter as a natural materials surrogate created a major shift in postmodern fine arts as in total civilization. Initially invented to preserve endangered natural resources, overtaking the salvific role, fine arts technologists began to make substitutions and copies of artifacts which needed to speak for the original in their protected absence. For the past several decades it has been scientifically proven that these synthetic masses are not biodegradable. They achieve an aura of endurance and become “super-originals”. Where there is a substitute, a synthetic surrogate, the original is in its absence what I call the “ghosting object”. This principle of the indirect comprehension of life and anthropogenic alternations will deeply influence human communication in general. Living in such a mediated, time-relational reality, one of the tendencies identified and presented here is the reverse archaeology approach — making a past-related artifact from the future. Reverse archaeology is about using fragments of past eras to deduce an image of the vanishing world which produced them and generate a fragment of the world to come.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ INSAM Journal of Con...arrow_drop_down
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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    Authors: Sandra Bjelan-Guska; Nela Hasanbegović;

    The development of technology has significant implications for human creativity. The nature of creative processes is being redefined, and technology is playing an increasingly important role in creative activities, becoming a tool or an extension of the creator's hand helping to integrate a new idea. Implications are also evident in the teaching of fine arts, enhancing the possibilities of stimulating students’ creativity using computer software. This assisted creation system is empowering for the student, as it enables him / her to acquire new abilities and a wide range of creative skills, as well as facilitating the formation of personal semantics. In order to determine the possibility of using computer software in the teaching of fine arts, research has been conducted among subject teachers. The aim is to determine the extent to which teachers of fine arts are familiar with software suitable for visual design, to establish whether they use it in their educational work, and to examine the methodical specifics of the realization such teaching. The results of the research are significant for the processes of designing initial university education programs, as well as in programs for lifelong professional teacher training, both for the purpose of educating teachers about the possibilities of using computer software and their impact on enhancing students’ creativity. The results can be a real boost for teachers who want to complement and strengthen their educational practice.

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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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    Authors: Dino Rešidbegović;

    Music composition today present a challenge for every composer, student and professor. In addition to the huge amount of information and technology that are part of modern composition, there are different approaches to the usage of notation within various forms of information and technology. This paper is based on the definition, role and application of notation in compositions. It attempts to define and explain a different, specific approach, which helps in understanding the technology, its applications and features to meet the problems of present compositions by using specific notation for electronic instruments or computers. The paper contains three sections with additional information on the problems, the different types of notations, and the possible solutions. The final result is the description of a connection between the electronic parameters of different instruments and the composition through the ARGN approach (Approximate Reductionist Graphical Notation), which is achieved by means of notation and composition of the parameters of electronic instruments. The ARGN approach contains elements of artistic and theoretical practices based on an interdisciplinary perspective; of the composer, engraver, performer, and improviser, which today represents a profile of a contemporary composer.

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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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    Authors: Anja Orozović;

    E. T. A. Hoffmann was a multi-talented artist who was not only known as a writer but as well as a composer and a draftsman. These talents can be noticed through various traces within his literary work. The references to the fine arts characterize Hoffmann’s entire oeuvre from the early to the late phase. The interest in certain artists and works, which Hoffmann adopted both in Dresden and during the Bamberg and Berlin periods, can be encountered through various references, especially within his narratives. The presented article includes three story collections: Fantasiestücke in Callots Manier,. Blätter aus dem Tagebuche eines reisenden Enthusiasten (1814/15), Nachtstücke (1816/17), and Die Serapionsbrüder (1819/21). It begins by referring to Hoffmann’s engagement with various artistic models, and then goes on to examine the traces of these encounters. The approach divides the references into four categories that within selected narratives reference to different features. Hoffmann not only relays on the traditionally painterly genres of fantasy and nocturne, but also attempts to transpose their characteristics into literature. The works of visual artists can serve as narrative prompts, or to shape the protagonist and landscape depictions. The above-mentioned references contribute to a better understanding of Hoffmann’s narrative work, both on the poetological level and on the level of content.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Journal of the Facul...arrow_drop_down
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Journal of the Facul...arrow_drop_down
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    Authors: Hanan Hadžajlić;

    The composition XO pt. II for flute with processors, amplified cello, amplified piano and analog sound synthesizers, by Dino Rešidbegović, was published in 2016 as an electroacoustic adaptation of its previous version, XO for undetermined instrumentation. The phenomenon of the notation of both versions, presented through the graphic score, comes from the very idea of/about the composition. The score is divided into nine squares which form a network with incorporated abstract shapes of different colors. In the middle of the score is a chart of a spectral analysis of the composition The Impact ofthe Analog Synthesizer for ensemble, also by Rešidbegović. The only difference between the scores of the two versions is the instrumental parameters table involved in XO pt. II for three performers. The main task of this paper is primarily the analysis and comparison of two interpretations of XO pt. II by the same three performers, with a difference in duration of almost 19 minutes. The goal is to reconstruct and explicate the improvisation as a potential basis for a compositional-technical analysis. A composition-interpretation-improvisation processes chain represents the main structure of the general process which forms the composition XO pt.II, involving composer and performers – interpreted as equal, interdependent creators of the musical work.

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    Authors: Tomasz Eugeniusz Malec;

    The article presents a theory of cultural and noncultural factors’ influence on spatial development at its current state. The culture of every nation includes both tangible and intangible elements, developed to various stages. Just as there are nations that have created rich culture, there are also those that, in spite of rich intangible culture, did not create a distinct architectural style, mostly adapting to their needs patterns from other cultures. Adaptation of non-native models in the tangible field of spatial development is not due to a nation’s cultural poverty, but rather to its cultural characteristics and the impact of other, noncultural factors. Therefore, identification of factors influencing spatial development is a complex task of an interdisciplinary nature. These noncultural factors are of various characters and strengths; nevertheless, in many cases they remain the most important ones. As proposed in this article, the theory explains relationships between culture, noncultural factors and human needs, and allows us to understand the basic process of spatial development.

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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Cogent Arts & Humanities
    Article . 2018 . Peer-reviewed
    License: CC BY
    Data sources: Crossref
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ DOAJ; Cogent Arts &a...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      Cogent Arts & Humanities
      Article . 2018 . Peer-reviewed
      License: CC BY
      Data sources: Crossref
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