![]() features and architectonics of the plastic space in monumental works of Mykola Storozhenko, in particular his mosaic panels, are still understudied. Nowadays a wide range of such completely concrete formal artistic aspects as composition structure. Storozhenko «Scythian Ukraine – Steppe Hellas» (1987–1992) and analyzes the composition structure of this work in the context of interrelationships of the multi-faceted imagery and symbolic formation. This article shows architectonical features of the plastic space in the mosaic panel of Mykola A. Music cover images generation code and demo are available at. ![]() Listeners evaluate the music covers generated by the proposed algorithm as quite satisfactory and corresponding to the tracks. Moreover, the significance of the patterns found by CoverGAN has been evaluated in terms of the correspondence of the generated cover images to the musical tracks. The assessment of resulting images is based on their correspondence to the music compared with AttnGAN and DALL-E text-to-image generation according to title or lyrics. To generate music covers as vector images that reflect the music and consist of simple geometric objects, we suggest a GAN-based algorithm called CoverGAN. Existing music cover image generation services do not analyze tracks themselves however, some services mostly consider only genre tags. Music cover images should meet the requirements of Internet streaming services and printing standards, which imply high resolution of graphic materials without any additional requirements on the content of such images. In this paper, we consider a specific application domain that softens this restriction dramatically allowing the usage of vector image synthesis. However, they belong to the highly sophisticated parametric space, which is a restriction for solving the task of synthesizing vector graphics by GANs. As almost all the existing image synthesis algorithms consider an image as a pixel matrix, the high-resolution image synthesis is complicated.A good alternative can be vector images. Generative Adversarial Networks (GAN) have motivated a rapid growth of the domain of computer image synthesis. As a result, we will witness how record covers have migrated from their original function and are now part of the realm of popular culture. This resurrection is part of the vinyl revival, pushed by elite consumers who are now looking for something else in music, apart from the music itself. The final act studies the surprising comeback of the format, yet in another context, possessed with a much more symbolic function. The next chapter explains the death of the album cover due to the crisis experienced by the industry in the nineties. We begin explaining the origin, evolution, and significance of the discographic design from the outset of the industry. Therefore, the paper is divided into three acts. We also aim to prove the evolution of the album cover and its reinterpretation as objects of popular culture. Far beyond its primary role in the music industry, it now belongs to the textile, decoration, and popular culture industries. The paper presents how album cover design has expanded its meaning. Throughout the more than a hundred years of existence, music and images have shared a shared space, in an ever-changing and evolving relationship. Imagery has been one of its key elements, whether through graphic design, album art design, posters, videos, and applications for digital devices. Summary: The recording industry is facing yet another pivotal moment of redefinition.
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