Dynamics with statics crossword puzzle 8 letters. Dynamics and statics in composition: definition, examples

Visual art is based on the concept of "composition". It ensures the meaning and integrity of the work. When solving an artistic problem, the creator selects means of expression, thinks through the form of embodiment of the idea and builds a composition. To present an idea, the artist needs a variety of means, one of which is dynamics and statics in the composition. Let's talk about the specifics of static and dynamic composition.

The concept of composition

B is the leading characteristic of the artistic form. It ensures the unity and interconnection of all elements and parts of the work. In the concept of “composition”, researchers put such meanings as a skillful combination expressive means, the embodiment of the author’s plan in the material, and the development of the theme in space and time. It is with its help that the author presents the main and secondary, and forms the semantic and pictorial centers. It is present in any form of art, but dynamics and statics in composition are most noticeable and significant in Composition is a kind of tool that organizes all expressive means and allows the artist to achieve the highest expressiveness of form. The composition combines form and content; they are united by the aesthetic idea and artistic intention of the author.

Principles of composition

Despite the fact that the main unifying principle of the composition is the artist’s unique idea, there are common principles for constructing the compositional form. The basic principles or laws of composition developed in artistic practice; they were not artificially invented, but were born during the centuries-long creative process of many artists. Integrity is the first and most important law of composition. According to him, the work must have a carefully verified form in which nothing can be subtracted or added without violating the design.

The primacy of idea over form is another law of composition. All means are always subordinated to the artist’s idea; first the idea is born, and only then does material embodiment appear in color, texture, sound, etc. Any composition is built on the basis of contrasts, and this is another law. The contrast of colors, sizes, textures allows you to attract the viewer’s attention to certain elements of the form, highlight the compositional center and give the idea special expressiveness. Another immutable law of creating a composition is novelty. Each work of art is a unique author's view of a phenomenon or situation. It is in finding a new perspective and new means of embodying an idea, perhaps eternal and familiar, that lies main value creations.

Composition tools

Each has developed their own range of expressive compositional means. IN fine arts these include lines, strokes, color, chiaroscuro, proportions and the golden ratio, shape. But there are also more general means that are characteristic of many art forms. These include rhythm, symmetry and asymmetry, highlighting the compositional center. Dynamics and statics in composition are universal means of expressing aesthetic ideas. They are closely related to the existence of composition in space and time. The unique relationship between different media allows artists to create individual and original works. It is in the arrangement of this expressive arsenal that the creator’s original style is revealed.

Types of composition

Despite all the individuality works of art, there is a fairly limited list of compositional forms. There are several classifications that distinguish types of compositions for different reasons. According to the features of object representation, frontal, volumetric and deep-spatial types are distinguished. They differ in the distribution of objects in space. Thus, the frontal plane represents only one plane of the object, the volumetric one - several, the deep-spatial one - shows several perspective plans and the placement of objects in three dimensions.

There is also a tradition of distinguishing closed and open compositions, in which the author distributes objects either relative to the center or in relation to the outer contour. Researchers divide compositional forms into symmetrical and asymmetrical, based on the dominant arrangement of objects in space with a certain rhythm. In addition, dynamics and statics in a composition are also the basis for distinguishing the types of form of a work. They differ in the presence or absence of movement in the work.

Static composition

Stability and statics have special associations in humans. The whole world around us strives to move and therefore something constant, unchanging, motionless is perceived as a certain value. Looking at the laws of composition, researchers have found that static is present in almost all forms of art. Since ancient times, artists have seen a special art and a difficult task in capturing the beauty of some object or object. Static compositions are perceived as emotions of peace, harmony, balance. Finding such a balance is a real challenge for an artist. To solve this problem, the artist uses a variety of means.

Static means of composition

Both static and dynamic compositions, in which simple figures are the main means of expression, use a different set of forms. Statics is perfectly conveyed by such geometric shapes like a rectangle and a square. Static compositions are characterized by the absence of bright contrasts; colors and textures are used close to each other. The objects in the compositions do not differ much in size. Such compositions are built on nuances, a play of shades.

Dynamic composition

Dynamics and statics in the composition, the definition of which we present, are solved using traditional expressive means: lines, colors, dimensions. Dynamics in art is the desire to reflect the transience of life. Like static, conveying motion is a serious artistic challenge. Since it has diverse characteristics, this problem, unlike statics, has many more solutions. Dynamics evokes a wide range of emotions and is associated with the movement of thought and empathy.

Dynamic Tools

A wide range of expressive means are used to convey the feeling of movement. These are vertical and distribution of objects in space, contrast. But the main means is rhythm, that is, the alternation of objects at a certain interval. Movement and static are always interconnected. In each work one can find elements of each of these principles. But for dynamics, rhythm is the fundamental principle.

Examples of statics and dynamics in a composition

Any art form can provide examples of static and dynamic compositions. But in the visual arts they are much easier to detect, since these principles are basic to visual form. Statics and dynamics in composition, examples of which we want to present, have always been used by artists. Examples of static compositions are still lifes, which were originally built precisely as a captured moment of stopping movement. Many classical portraits, for example, Tropinin, Borovikovsky, are also static. The embodiment of static is the painting by K. Malevich “Black Square”. Many genre, landscape and battle works are dynamic compositions. For example, “Troika” by V. Perov, “Boyaryna Morozova” by V. Surikov, “Dance” by A. Matisse.

One of the fundamental branches of physics is mechanics - a discipline that studies the laws according to which bodies move, as well as changes in movement parameters as a result of the influence of bodies on each other.

The main areas of mechanics are the study of dynamics, kinematics and statics. Specialists devote their whole lives to a detailed study of these sciences, since their provisions underlie the most important general engineering disciplines - the theory of mechanisms, strength of materials, machine parts, etc.

What does theoretical mechanics study?

Movement and interaction physical bodies obey the strict laws by which our Universe exists. Mechanics, a branch of physics that allows one to calculate and predict the movement of physical bodies based on their basic parameters and the forces acting on these bodies, is devoted to the description and justification of these laws. In mechanics, ideal objects are considered:

• material point - an object whose main characteristic is mass, but dimensions are not taken into account;
• an absolutely solid body is a certain volume filled with a substance, the shape of which does not change under any influence, and the same distance always remains between any two points inside this volume;
• continuous deformable medium - a state of matter in a finite volume or in unlimited space, in which the distances between arbitrary points can change as a result of external influences.

Mechanics considers the laws of motion when, over time, either the position of one body relative to another, or the relative arrangement of parts of one body changes. Time, mass and distance are basic quantities for mechanics.

Kinematics

The branch of mechanics that studies the laws of motion, its geometric properties, the laws of velocities and accelerations is called kinematics. The name of the discipline is derived from the Greek word «κινειν» , meaning movement. Kinematics studies pure motion from the point of view of space and time, without taking into account the masses of physical bodies and the forces acting on them.


Movement in kinematics is described exclusively by mathematical means, for which algebraic and geometric methods, mathematical analysis, etc. are used. At the same time, in classical kinematics the reasons why the mechanical movement of bodies occurs are not considered, and the characteristics inherent in the movement are considered absolute, i.e. they are not affected by the choice of reference system. In addition to classical mechanics, there is relativistic mechanics, which considers the general concept of space-time with invariant intervals.

Dynamics

Another section of mechanics, which examines the causes that give rise to the mechanical movement of bodies, is called dynamics. This name is derived from the Greek word «δύναμις» , meaning strength. The basic concepts of dynamics are the mass of a body, the force that acts on it, energy, momentum and angular momentum. The main tasks are to determine the force acting on a physical body by the nature of its movement, and to determine the nature of the movement based on the given forces of influence.

A significant contribution to the development of dynamics was made by the British scientist Isaac Newton, who formulated his three famous laws that describe the interactions of forces, and in fact became the founder of classical dynamics. This discipline studies the patterns of movement at speeds limited to an interval from fractions of one millimeter per second to tens of kilometers per second. However, when considering the movement of ultra-small objects (elementary particles) and ultra-high speeds approaching the speed of light, the laws of classical dynamics cease to apply.

Statics

The laws of bodies and systems being in equilibrium when various forces and moments are applied to them are studied by statics, another branch of mechanics. The name of the discipline comes from the Greek word «στατός» , meaning immobility. For statics, six axioms are formulated that describe the conditions for a body or system of physical bodies to be in a state of equilibrium, as well as two consequences from these axioms.


The main object in statics is a body or a material point that is in a state of equilibrium, i.e. motionless or moving in the considered inertial coordinate system uniformly and in a straight line. The limiting factors for a body in equilibrium are the external forces that act on it, as well as other bodies called connections.

Fragmentary or continuous perception of time.

Statics:

Speakers:

What's easier, what's more difficult

• It’s easier for statics, more difficult for speakers: Fix attention on a moment in time, its capabilities and the location of objects. Briefly express the essence of the moment.
• It's easier for speakers, harder for statics: Physically feel changes in the situation in real time. Make predictions about how the situation is developing and where it will lead. Describe the continuous course of events and your thoughts.

The meaning of the sign

The division of people into statics and dynamics is the most important thing that Jung missed. Sociologists, starting from A. Augustinavichute, this gap was partially restored, but the underestimation of the trait as the most noticeable remained. It is easy to identify in any fragment of oral and written speech of sufficient volume, regardless of the language and content of what was said.

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The speech of the speakers is smooth. The speech of statics consists of short fragments separated from each other by noticeable barriers. Sometimes these barriers correspond to punctuation marks, sometimes they don't.

Almost all problems of socionic diagnostics are apparent. They can be identified with a simple speech analysis skill. Task No. 1 when determining type: are there barriers in a person’s speech or not?

Simple exercise. By default, we consider everyone to be speakers and smoothly, from one line to another, almost without going into the meaning, not paying attention to punctuation marks, we read out a fragment of speech. If after 2-3 paragraphs everything is read smoothly and no noticeable obstacles have arisen, this is a speech from a speaker. If they are, you are talking about static.

The study of socionics should begin with studying the difference between statics and dynamics. Society refuses to study phenomena that lie on the surface. Even experienced socionicists either underestimate it along with other non-Jungian signs, or make glaring mistakes - due to simple inattention.

What is the nature of this difference? According to the hypothesis accepted in modern socionics, this is due to the characteristics of a person’s birth. In statics, the middle phases of labor (2 and 3) are deposited in their consciousness; during them, the fetus feels the contractions of the mother’s womb. In the speakers, the extreme phases of labor (1 and 4) have been deposited in their consciousness; during them, contractions of the womb are absent. As a result, For static people, time turns out to be fragmented throughout their lives, while for dynamic people it turns out to be continuous..

You should not assume that static people do not perceive changes and see a set of static pictures. In the mind of a static person, time is divided into short video clips of a few seconds. In written speech, many fragments are compressed into static phrases without verbs: “The field is level, the ball is round.” But there are also fragments of speech of statics in which there are many verbs, but there is no smooth flow of one into another. The angles often change, the subject in one sentence is one thing, and in the next it is something else.

Some people speak faster, others slower, but even if a static person speaks quickly, there will be pauses. Best example— video presentation by Alexander Nevzorov (ILE). It is often typed into speakers, but this is a consequence of the fast pace of speech. Compare with the video blog of Sergei Dorenko (LSE) - here is a speaker who speaks sedately and leisurely, drawing out his words. In long radio broadcasts, Dorenko speaks in a natural rhythm, and here the fluency of speech is evident.

Statics cannot follow an object without periodically switching frames in their minds. If you are static, watch yourself and catch it. Speakers are able to continuously observe objects and phenomena and describe in detail what is happening to them.

Sometimes they try to determine statics and dynamics, bypassing speech, visually, by human movements. This is a path to mistakes - you need to watch your speech, not your body.

Diagnostic applications

Model A standards, which most socionics adhere to, ignore this difference. Moreover, the 8 aspects included in Model A contain this feature - if you have found the dynamics, your further choice is between white intuition and white sensory and black logic and black ethics. The rest is excluded and is found only among statics. This method is much more reliable than trying to determine logic or ethics, intuition or sensory using an aspect dictionary.

Examples of static speech

Time is a deadline. | You can allocate time, yes. | I'll probably speed it up by doing something interesting. | I understand how to compress, probably | do something uninteresting. — SEE

Time is something that no one can control! | It rapidly flies forward like a ray in outer space. | It is difficult to manage time yourself; you need to create an environment around yourself in order to slow down the passage of time, | that is, it can be influenced indirectly. — EII

I usually fall in love as quickly and with the same result as an out-of-control tank driving into a concrete wall. | Rumble, dust, groans. | Shouts of “how could you?!” from under the rubble. | Everyone within a ten-meter radius of the epicenter was crippled. | And I, unharmed, sit in a tank turret and passionately indulge in self-abasement. — SLE

Speaker Speech Examples

For me, time is inextricably linked with movement, which is why it is sometimes perceived differently, either dragging on or speeding up - SLI

Time distance divided for speed. Time one can feel and therefore speed up or slow down one's actions in the interim - OR

There were many listeners people 15. At the beginning meeting, we passed the doll Mashenka around in a circle and came up with her abilities and life path, during which she developed them and implemented. Fairy tale turned out to be sad, because... most of those present were women, and the girl Masha turned out to be educated, successful, wealthy, independent and scary lonely. Concentrating on the development of her abilities, she somehow imperceptibly pushed into the background her children, her husband, lover (about parents there was no talk there at all)... - EIE

What should not be mistaken for static

Slow, choppy speech rate. If the speaker speaks slowly, it is more difficult for an observer to perceive the flow of the narrative, but if what is said is deciphered and read as text, it will be clearly revealed.

Speech fragments containing few semantic verbs. Typically, statics use fewer semantic verbs than dynamics, but the latter do not always need to use them all the time. At the same time, the smooth, dynamic manner is preserved.

What should not be mistaken for dynamics

Long complex sentences. Declarative statics(LSI, SLE, EII, IEE) tend to use these, but within these sentences one can see barriers and boundaries between fragments.

Fast pace of speech. If a static speaker speaks quickly, it is more difficult for an observer to break his speech into meaningful fragments, but if it is deciphered and read as text, the gaps between them will be revealed.

Based on the book

This pair of harmonization means is used to express the degree of stability of the compositional form. Such stability is assessed purely emotionally, by the impression that the form makes on the viewer. This impression can come from a static or dynamic object as a whole or its parts.

Static forms according to the impression they make, they are assessed as extremely stable (square, rectangle, cube, pyramid). A composition made up of similar forms has a monumental, static character. The main types of static forms are presented in Figure 13.

1 Symmetrical shape 2 Metric 3 With minor

displacement of elements

4 With a combination of equals 5 With a slight 6 With a lightweight top

elements bevel elements

7 Horizontal division 8 Equal arrangement 9 With large elements

elements

10 With a large main 11 Symmetrical arrangement 12 With a highlighted center element of the elements

Figure 13 - Main types of static forms

A composition is considered static if it is built according to the laws of classical symmetry.

Dynamic shapes typical of the shapes of many modern moving design objects, especially various moving vehicles. Often these forms actually move in space. The dynamic composition is based on an asymmetrical solution and some imbalance. The main types of dynamic forms are presented in Figure 14.

1 Offset shape 2 Rhythmic 3 Perpendicular

from the center by the axes of the elements

4 Parallel arrangement 5 Lightweight bottom 6 Curved type

elements

7 Diagonal division 8 Free arrangement 9 Elongated elements

elements

10 Inclined 11 Asymmetrical 12 Included in open

arrangement of elements arrangement of elements space

Figure 14 - Main types of dynamic forms

Practical task

1 Create a static composition on a free theme, using the diagrams in Figure 13 (Appendix A, Figures 10-11).

2 Perform dynamic exercises on the topics: wind, explosion, speed, tyrant, etc., using the diagrams in Figure 14 (Appendix A, Figures 12-13).

Requirements:

search variants of the composition are carried out in batches of 7-10 pieces;

display the fundamental difference in the organization of statics and dynamics in the composition.

Material and dimensions of the composition

Pencil, ink, black felt-tip pen, gel pen. Sheet format – A3.

Repeat

Many natural phenomena are characterized by alternation and repetition. Symmetry is repetition. The law of repetition in design occurs when certain elements (line, shape, texture, color) are used more than once. Repetition creates a sense of order. A simple repeat consists of one repeating element. Complex - the composition repeats elements of two or more types (color, pattern, lines, etc.). Depending on the way elements are organized in a design, repetition can be in different directions: vertical, horizontal, diagonal, spiral, radial-beam, fan-shaped. In each case, a new character of movement appears and, accordingly, a new sound and special expressiveness. Horizontal repetition is about stability and balance; vertical – slimness, height; diagonal, spiral - active, rapid movement.

The repetition can be regular (same frequency of repetitions) (Figure 15) and irregular (Figure 16), which is more interesting because allows the eyes to compare small changes.

Figure 15 - Regular repetition Figure 16 - Irregular repetition

Practical task

1 Create a composition from one repeating element, choosing your own movement pattern (horizontal, vertical, diagonal, spiral).

2 The same thing, but from two or more elements (Appendix A, Figure 14).

Requirements:

Two sketches are completed for each task.

Material and dimensions of the composition:

Pencil, ink, black felt-tip pen, gel pen. Sheet format – A4.

R. K. Kovalenko, N. A. Zvonareva

The sign “statics / dynamics” determines the attitude of the human psyche according to the perception of states and changes.

In model A it is manifested by its location along .

Statics are the types whose mental (conscious) ring contains static types of information (CHI, ES, BL, BE). Static information is information in a cross-section of time, i.e. information of a non-continuing nature.
Statics independently focus their attention on information about the logical or ethical relationships between objects, as well as on the form and semantic content of objects.
Dynamic aspects (CL, PE, BS, BI) call information in a longitudinal section of the time scale, i.e. information about changes and processes occurring in the world. Statics without an external focus of attention (until someone from the outside draws their attention) are not aware of changes in mood, technology, sensations and development information.
Dynamics, on the contrary, are types whose mental ring contains types of information that describe information about changes. As a result, speakers themselves notice the processes and changes taking place in the world, but it is difficult for them to focus their attention on static characteristics without external influence: patterns, relationships, form, possibilities.

The most common stereotype regarding this characteristic is the statement that dynamics are more mobile, and static people are less so. This statement is controversial because it is in no way substantiated theoretically, nor is it supported by the results of experimental studies. These manifestations are most likely described by the location of the Physics aspect on the productive or processive functions.

List of sources used:

1. Augustinavichiute A. Socionics. – M.: Black Squirrel, 2008. – 568 p.
2. Beletskaya I.E., Beletsky S.A. Secrets of Socionics. How to type according to Reinin's characteristics. – M.: Black Squirrel, 2014. – 296 p.
3. The results of a scientific experiment to study the filling of Reinin’s signs at the Research Institute of Socionics under the leadership of G.R. Rainina. // Reports X scientific conference on socionics “Known and new about Reinin’s signs - Part 1” 03 – 04.01.09 Moscow
4. Prokofieva T.N. Socionics. Signs of Reinin. Educational and practical manual. M., 2005.
5. Gololobov N.S. Analysis of manifestations of the small group “Forms of Thinking” using the example of generating ideas using the brainstorming method // Socionics, mentology and personality psychology. 2017. No. 6. P. 18-31 – . –