tag:blogger.com,1999:blog-6294744150606571617.post2372163407430137456..comments2024-01-16T07:07:11.166-08:00Comments on Bridal Pearl Necklace : Wedding Pearl Jewelry: Pearl Necklacehttp://www.blogger.com/profile/01857152720762307589noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-6294744150606571617.post-60172002833404876492020-01-01T23:20:11.477-08:002020-01-01T23:20:11.477-08:00Empire thoroughly searched each separate instance ...Empire thoroughly searched each separate instance of the gospel<br />texts to destroy it, - for I knew that these books pose a<br />the mighty revolutionary potential energy..." (Ibid.P. 175-176).<br /> F. Schmidt in principle, interpreted the art of pure communication:<br />when one person finds before the other world of his images below<br />"infect" their experiences. Thus again dramatically increases the role<br />consumer: "the artist not only caters to painters, awakening "with<br />an unknown force" the images and the emotions, which in a vague kind<br />non-artists under the influence of being already born; the power of the artist over<br />"people's hearts" - the power is quite limited, whatever it<br />ability, talent, genius, and anything mysterious and mystical in it.<br />Any work of fiction, which had success with a team<br />people can be rightfully considered as an expression of feelings<br />all of the team and as an indicator of the level of public its development"<br />(Ibid. P.37).<br /> In General, the concept of F. Schmitt sufficient system, we even lowered<br />some of the proposed classifications. It is communicative in essence,<br />therefore, it constantly refers to the consumer, it is purely passive<br />functioning is translated into a more active role. And almost all<br />semiotic ideas associated with the future development of visual semiotics<br />art, are already present here, including forward/reverse<br />perspective, point of view (the latter being actively developed today, to<br />example, B. Uspensky. See: The Assumption B. A. Semiotics of art.<br />- M., 1995).<br /> Prdyduschy texts attracted us by its desire for consistency and<br />objectivity. Among them we can also include V. bogaevskii,<br />who said: "art history as a result of their work, hopefully<br />develop a common language of art, which as yet recognize only a few"<br />(Bogaevsky V. The task of art history (Contemporary issues in the study<br />fine arts) // problems and methods of studying the arts. -- P., 1924.<br />P. 61). The reports read at the meetings of the Commission on the study of philosophy<br />art philosophical branch of the State Academy of Art<br />Sciences in 1926-1927 and combined in a collection of articles "portrait Art",<br />it should be recognized already<br /><br />Pearl Necklacehttps://www.blogger.com/profile/01857152720762307589noreply@blogger.comtag:blogger.com,1999:blog-6294744150606571617.post-45375876540337216142020-01-01T22:55:50.984-08:002020-01-01T22:55:50.984-08:00The main problems of theory and history. -- L., 19...The main problems of theory and history. -- L., 1925. P. 7). Here, in his<br />opinion, and the need for a "collectivist theory of art."<br /> Such statements, of course, follow outside the formal method, however<br />f.Schmitt leads a number of its purely semiotic observations.<br />"Visual images characteristic of spatiality. (...) For acoustic<br />images is typical, on the contrary, the fact that their ranks are deployed in time and<br />out of time does not exist" (ibid. P. 42). 06 the same write and<br />Roman Jakobson in their work on visual and auditory signs<br />(Jacobson R. To the question of visual and auditory signs // Semiotics and<br />accustomedly. -- M., 1972). In determining F. Schmittconstantly<br />falls and consumers of art: "the Task of the spatial arts --<br />to oformliat outside of the artist substance to match<br />visual images of the artist and prompted the same visual images<br />consumer art" (F. Schmitt, op. CIT. Op.P.42).<br /> The researcher introduces the distinction between fine and<br />nonrepresentational art. In the latter case we are talking about<br />the feeling of the artist, at the same time, fine art talking about<br />specific emotions. And then follows a purely semiotic complexity: "No<br />fine art, which would be completely absent<br />non-visual elements (tone, rhythm, rhyme in literature, rhythms,<br />the pace and timbre of the movements in the drama, rhythms, and harmony in painting and sculpture),<br />and there is nonrepresentational of the arts, where there were no traces of depiction<br />(onomatopoeia, rhythms and tempos in music, in dance, facial expressions, naturalistic<br />motifs in patterned painting, nonrepresentational sculpture and architecture" (There<br />same.P.45).Pearl Necklacehttps://www.blogger.com/profile/01857152720762307589noreply@blogger.com