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Oktarina, Elsi. „Exploration of Traditional Game of Marbles in Maths Learning in Primary School“. Pedagogik Journal of Islamic Elementary School 5, Nr. 1 (30.04.2022): 161–70. http://dx.doi.org/10.24256/pijies.v5i1.3757.
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Exploration a mathematical concept found in a culture. the presence of culture nuancedmathematics will make a major contribution to the learning of mathematics. The purpose ofthis study is to identify and describe mathematical objects found in the traditional display ofmarbles and their use in learning mathematics. This research is a qualitative research using ethnographic methods. The instruments used in this study were documentation, interviews andliterature studies directly to respondents. Data analysis techniques are performed by datareduction, data presentation and data analysis and data exposure. The results of the study indicate that traditional marbles games have ethnomatematics related to mathematical concepts including geometrical concepts such as circles, spheres, triangles and also the concept of distance. The mathematical concepts can be used to introduce and understand the concept of geometry and distance through local culture.
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KUITENBROUWER, FRANK. „The Darker Side of Museum Art: Acquisition and Restitution of Cultural Objects with a Dubious Provenance“. European Review 13, Nr. 4 (Oktober 2005): 597–615. http://dx.doi.org/10.1017/s1062798705000839.
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Museums face what has been called an ethical crisis of illegitimate acquisitions and reluctant restitution. Some claims go far back (like the Elgin Marbles), others are of more recent origin, like those concerning so-called Holocaust Art. Claims often are not purely legal in nature but also have a moral aspect. The government of The Netherlands has chosen, for a policy-oriented approach to deal with claims from the Second World War, a third way of conflict resolution.
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Simamora, Lita Martauli, und Mesran Mesran. „Aplikasi Game Flatfrom Art Lewat Construct 2 Dengan Menggunakan Metode Quadtree“. JURIKOM (Jurnal Riset Komputer) 7, Nr. 2 (26.04.2020): 269. http://dx.doi.org/10.30865/jurikom.v7i2.2103.
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The use of media as a learning tool is appropriate and interesting in the introduction of traffic signs to increase knowledge. Traffic game application is a media that is run on an android smartphone as a means to recognize and learn the types of traffic signs. The research method in designing a traffic sign game is Quad-Tree which collision collision / collision of two different objects in the game area by dividing the arena of the same size game if there are two or more objects in the same area so divide the area again into four equal sized parts until no objects are in the same area. Providing interesting knowledge and while playing to the community, a traffic game application is designed to provide knowledge of road equipment containing symbols, letters, numbers, sentences or a combination of them, which are used to provide warnings, prohibitions, commands and instructions in the past educational games cross.
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O'Connell, Mary Ellen, und Sara DePaul. „Report on the Conference: Imperialism, Art and Restitution“. International Journal of Cultural Property 12, Nr. 4 (November 2005): 487–90. http://dx.doi.org/10.1017/s0940739105050253.
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March 26–27, 2004, in St. Louis, Missouri, the Washington University School of Law's Whitney R. Harris Institute for Global Legal Studies and the School of Art hosted the Imperialism, Art and Restitution Conference. The conference brought together many of the world's leading experts on art and antiquities law, museum policy, and the larger cultural context surrounding these fields. The conference organizers chose several particularly controversial case studies to generate debate and discussion around the issues of whether Western states and their museums should return major works of art and antiquities, acquired during the Age of Imperialism, to the countries of origin. The case studies included the Elgin/Parthenon Marbles, the Bust of Nefertiti, and objects protected by the Native American Graves Protection and Repatriation Act (NAGPRA). The format produced a lively, interdisciplinary, and sometimes passionate debate that helped crystallize issues and expose complexities but certainly produced no consensus around a simple solution of return or retain.
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Macaya, Albert. „Presencias de lo Cotidiano. Objetos y Creatividad en el Arte Moderno y Contemporáneo: Aproximación al Caso de Antoni Tàpies“. Barcelona Investigación Arte Creación 4, Nr. 1 (03.02.2016): 50. http://dx.doi.org/10.17583/brac.2016.1831.
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<p>Daily life objects have been present in modern and contemporary art, in the creative process of many artists as much as in artworks themselves. Links between art and objects are multidimensional and have enabled some of the most interesting experiences in recent art. In this paper, we will examine the dimensions that objects have acquired in the work of artists. We will outline two major directions in what concerns the use of objects in recent art: on the one hand, the gazes that show us daily life objects on a new way and, on the other, the works that bring objects into a sort of language game, giving new significance to them. After a summary review of several references in the art of the past, we will focus on the use of objects in the work of Antoni Tapies, in order to explore an interesting net of possible nexus between objects and a diversity of signification modes and cultural forms.</p>
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Kolesnikov, N. „ART DESIGN: THE RULES OF THE GAME“. Technical Aesthetics and Design Research 4, Nr. 2 (03.06.2023): 37–44. http://dx.doi.org/10.34031/2687-0878-2022-4-2-37-44.
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The article is devoted to the consideration of the concept of "art design". Within the framework of this work various definitions of the concept of "art design" are analyzed. The object of the study is the communication between the observer, the consumer and the designer. The purpose of this paper is to describe the characteristics of this communication. The methods used in the work include: generalization, comparative method, interpretation of the term, tabular forms of data presentation, literature analysis. As a result of this study, the characteristic of communication between the art designer and the consumer is given. The essence of art-design as a game activity is revealed. The concept of "art-design" that appeared in the epoch of postmodernism, contains a certain game element - the interaction of the external form of the object and the observer's expectations concerning the form based on the utilitarian function declared by the creator. The semantic component of the art design of objects can be designed by the designer, or be the result of the observer's subjective perception of the object. In both cases, the so-called "areas of non-identity" are the space for filling with meanings. The usefulness of art education in art-design activity is outlined. With regard to art-design activity the use of art education is expressed in "teaching the sense by a skill".
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Hartono, Meilani, Andri Guna Santoso, Crisantus Lebu Raya, Budi Yulianto und Suwarno Suwarno. „Audio Visual Media Components in Educational Game for Elementary Students“. ComTech: Computer, Mathematics and Engineering Applications 7, Nr. 4 (31.12.2016): 255. http://dx.doi.org/10.21512/comtech.v7i4.2515.
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The purpose of this research was to review and implement interactive audio visual media used in an educational game to improve elementary students’ interest in learning mathematics. The game was developed for desktop platform. The art of the game was set as 2D cartoon art with animation and audio in order to make students more interest. There were four mini games developed based on the researches on mathematics study. Development method used was Multimedia Development Life Cycle (MDLC) that consists of requirement, design, development, testing, and implementation phase. Data collection methods used are questionnaire, literature study, and interview. The conclusion is elementary students interest with educational game that has fun and active (moving) objects, with fast tempo of music, and carefree color like blue. This educational game is hoped to be an alternative teaching tool combined with conventional teaching method.
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Castiñeiras López, Javier. „Game Studies. Methodological Approaches from the History of Medieval Art“. Espacio Tiempo y Forma. Serie VII, Historia del Arte, Nr. 9 (15.10.2021): 419–40. http://dx.doi.org/10.5944/etfvii.9.2021.31815.
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This article presents an updated state of the art about the relation of videogames with the cultural sphere and the historical disciplines. Specifically, we will try to address the role that the History of Medieval Art can play in the analysis and assessment of these cultural objects from a double way defined, on one side, by the historical Middle Ages and, on the other side, by the recreated medioevo. The Assassins Creed saga and titles as Bloodborne or A Plague Tale: Innocence, offer very particular visions of medieval and neomedieval architecture, all of them likely to be part of the cannon of medievalizing works of contemporary culture and, therefore, be object of study for the History of Medieval Art.
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Manovich, Lev. „Friendly Alien: Object and Interface“. Artifact 1, Nr. 1 (01.03.2007): 30–32. http://dx.doi.org/10.1386/art.1.1.30_1.
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Abstract Since 1996, artist Miltos Manetas has done paintings that systematically portray the new essential objects of contemporary life: joysticks, computers, computer game consoles, and computer cables (lots of them). Manetas also paints people who are usually intensely engaged in the activities made possible by consumer electronics devices, such as playing a computer game. But he never shows what games they are playing or what images they are looking at. Instead, he focuses on the humancomputer interface: hands clutching a joystick, a body stretched across the floor in the intense concentration or, alternatively, relaxing besides a laptop, a computer console, or a TV.
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Gruev, Emil. „Art Methods for Capturing an Environment in Video Games“. Visual Studies 6, Nr. 1 (29.06.2022): 80–83. http://dx.doi.org/10.54664/ojvk6124.
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The article presents part of the art methods for visualizing models from the environment captured on a screen in video games. Computer graphics are developed to such a degree in terms of visualization that they perfectly apply the rules of our perspective knowledge, so that they can help us imitate threedimensional objects on those flat surfaces. We will look at essential perspective concepts and how they help depict the environment in video games, as well as the tools that are developed in the virtual space. Artists can use them to show a specific action, emotion and atmosphere connected with the computer game. Such tools are the so-called virtual digital cameras. They use all the rules from the well-known perspective and implement them in the computer for creating the image. We will also look at types of cameras and different settings that game developers use for developing a game. The position and placement in the game level are important for achieving the desired result and how we want the player to look at the picture. There are compositional solutions and a camera angle in different types of video games. So, the best solution can be given regarding the view of the environment in the video game with the action that is happening in it. These are some basic art elements that are implemented in computer technology to create the image in a computer game.
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Whitson, Jennifer R. „Voodoo software and boundary objects in game development: How developers collaborate and conflict with game engines and art tools“. New Media & Society 20, Nr. 7 (30.06.2017): 2315–32. http://dx.doi.org/10.1177/1461444817715020.
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This article describes how game developers successfully ‘pull off’ game development, collaborating in the absence of consensus and working with recalcitrant and wilful technologies, shedding light on the games we play and those that make them, but also how we can be forced to work together by the platforms we choose to use. The concept of ‘boundary objects’ is exported from Science and Technology Studies (STS) to highlight the vital coordinating role of game development software. Rather than a mutely obedient tool, game software such as Unity 3D is depicted by developers as exhibiting magical, even agential, properties. It becomes ‘voodoo software’. This software acts as a boundary object, aligning game developers at points of technical breakdown. Voodoo software is tidied away in later accounts of game development, emphasizing how ethnographies of software development provide an anchor from which to investigate cultural production and co-creative practice.
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Hodhod, Rania, Marc Huet und Mark Riedl. „Toward Generating 3D Games with the Help of Commonsense Knowledge and the Crowd“. Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 10, Nr. 3 (29.06.2021): 21–27. http://dx.doi.org/10.1609/aiide.v10i3.12741.
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Procedural game generation is the automatic creation of all aspects of a playable computer game. Procedural game generation systems require specialized knowledge, virtual worlds, and art assets. In this paper, we show how 3D graphical scenes for interactive fictions can be automatically generated with only knowledge that is readily available in existing knowledge bases or can be acquired via crowdsourcing. The key to 3D scene generation is commonly accepted spatial relationships between different types of objects in different types of scenes. We use a crowdsourcing game to automatically and rapidly acquire spatial relations. The spatial relations are used by an intelligent scene generation system that selects and configures 3D assets within a virtual geometric space.
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Szymański, Michał. „Computer Games in Art History. Traditional architecture and painting presented in virtual reality“. E-methodology 5, Nr. 5 (23.04.2019): 84–99. http://dx.doi.org/10.15503/emet.v5i5.449.
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Aim. The aim of the research is to show the applications of art reception in computer games. Moreover it is important to show the game as a visual object worth to analysis for art historian, because of complex structure and relations with traditional artistic media like architecture and painting. Many disciplines, like ludology, narratology and culture study research computer games, but we can see a large lack in the state of research in visual aspects of games, which should be supplemented.
Methods. The subject of study are five games belonging to different game genres. The first, Assasin’s Creed II is set in a historical context, the next Witcher III and Dark Souls embedded in the realities of fantasy and finally, two games in an independent games category. The basic method is iconographic identification of the object and comparative difference and similarity between original source of inspiration and transposition of this in computer media. Therefore basic tools gained from history of art are used, which are necessary for visual analysis of a piece of art. Also important is notion of a commonplace forming a frame for images from different media.
Results. Indicated examples show that classic art has a strong influence on numerous computer games. The citations and allusions from art brings an additional narration completing the story in the game. Objects of architecture or paintings also give symbolic meanings, influencing the interpretation of the whole game. Game developers oscillate between education in the history of art and the use of these references to create your own world.
Conclusion. The examples presented in the article are only part of the rich area of art inspirations that can be found in many games. This should become a contribution to further research, not only taking into account the indicated types of references, but also the visuality of the games themselves The visual complexity of the games would require separate, more extensive research that would bring a lot into the perception of games and researching them
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Wood, Kelli, und David S. Carter. „Art and technology: archiving video games for humanities research in university libraries“. Art Libraries Journal 43, Nr. 4 (Oktober 2018): 185–95. http://dx.doi.org/10.1017/alj.2018.29.
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AbstractOver the past half-century video games have become a significant part of our cultural environment, in part, by leading advances in both technology and artistic innovation. In recent years librarians and researchers have recognized these games as cultural objects that require collection and curation. Developing and maintaining collections of this fast moving and somewhat ephemeral media, however, poses challenges due to constantly advancing technology and a corresponding lack of consistent terminology. This article addresses the literature and critical issues surrounding collections of video games within libraries and presents a case study of the University of Michigan’s Computer and Video Game Archive (CVGA), one of the largest academic archives of its kind. Moreover, video games are situated in a humanistic approach to the field of game studies as the article draws on the relevance of methods from art history and film studies.
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Crespo-Martinez, Esteban, Salvador Bueno und M. Dolores Gallego. „A Video Game for Entrepreneurship Learning in Ecuador: Development Study“. JMIR Formative Research 7 (11.10.2023): e49263. http://dx.doi.org/10.2196/49263.
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Background Games have been a part of human life since ancient times and are taught to children and adults who want to simultaneously have fun and learn. Nevertheless, in the third decade of this century, technology invites us to consider using video games to learn topics such as entrepreneurship. However, developing a serious game (SG) is difficult because everyone who forms part of the game development team requires adequate learning resources to acquire the necessary information and improve their game development skills. Objective This work aimed to detail the experience gained in developing ATIC (Aprende, Trabaja, Innova, Conquista [learn, work, innovate, conquer]), an SG proposed for teaching and learning entrepreneurship. Methods To develop a videogame, first, we established a game development team formed by professors, professionals, and students who have different roles in this project. Scrum was adopted as a project management method. To create concept art for the video game, designers collected ideas from various games, known as “getting references.” In contrast, narratology considers the life of a recent university graduate immersed in real life, considering locations, characteristics, and representative characters from an essential city of Ecuador Results In a Unity 3D video game in ATIC, the life of a university student who graduates and ventures into a world full of opportunities, barriers, and risks, where the player needs to make decisions, is simulated. The art of this video game, including sounds and music, is based on the landscape and characteristics of and characters from Cuenca, Ecuador. The game aims to teach entrepreneurs the mechanisms and processes to form their businesses. Thus, we developed the following elements of an SG: (1) world, (2) objects, (3) agents, and (4) events. Conclusions The narrative, mechanics, and art of video games are relevant. However, project management tools such as leaderboards and appointments are crucial to influencing individuals’ decision to continue to play, or not play, an SG. Developing a serious video game is not an easy task. It was essential to consider many factors, such as the video game audience, needs of learning, context, similarities with the real world, narrative, game mechanics, game art, and game sounds. However, overall, the primary purpose of a serious video game is to transmit knowledge in a fun way and to give adequate and timely feedback to the gamer. Finally, nothing is possible if the members of game development team are not satisfied with the project and not clear about their roles.
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Vandiver, Pamela, und Jim Druzik. „Art and Technology“. MRS Bulletin 17, Nr. 1 (Januar 1992): 14–17. http://dx.doi.org/10.1557/s0883769400043189.
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Art has as many meanings as contexts in which it operates. It can mean surface decoration or the integral sum of parts and whole which a historian analyzes as structure using visual, musical, theatrical or other criteria. Art serves as decoration, but also serves to signal or sign a particular meaning. Art often confers an elite social status on its patrons or provides goods which support the power and prestige of a special group or person. Art is also used to describe the experience of viewers, usually as “aesthetic experience”; for instance, we experience art as beauty, as a shared emotional experience or empathetic understanding, or as interactive play or a process of performance by which we investigate or relate ideas, occurrences, or objects and give them meaning.Technology, in contrast, is usually defined as “praxis” and involves doing things, as a craft practice involving materials selection and refinement, followed by making those materials into useful things, artifacts, or objects which serve useful functions for individuals, a social group, class, or culture. The products of technology can be useful as tools that enable a task to be accomplished, or as products which satisfy subsistence needs, or devices, or even practical ideas. When put to use, they enable travel, communication, transportation of goods, or control of energy. But technology has another meaning which is often thought to be less useful, namely technical marvels—things which amaze or surprise us. Some examples are the mechanical automatons of the 17th and 18th centuries, the latest computer game, a special way of hearing or seeing, or even the gas and light spewing magic machines described as being used in Greek temples to get peoples' attention. Another example is the technology described by the 11th century monk Theophilus, used to equip a church, from bells and censors, to glass windows and painted walls. In these examples, doing technology or learning to use technological marvels is a way of almost magically extending our own power and understanding beyond ourselves.
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Shih, D. T., C. L. Lin und C. Y. Tseng. „Combining Digital Archives Content with Serious Game Approach to Create a Gamified Learning Experience“. ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XL-5/W7 (13.08.2015): 387–94. http://dx.doi.org/10.5194/isprsarchives-xl-5-w7-387-2015.
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This paper presents an interdisciplinary to develop content-aware application that combines game with learning on specific categories of digital archives. The employment of content-oriented game enhances the gamification and efficacy of learning in culture education on architectures and history of Hsinchu County, Taiwan. The gamified form of the application is used as a backbone to support and provide a strong stimulation to engage users in learning art and culture, therefore this research is implementing under the goal of “The Digital ARt/ARchitecture Project”. <br><br> The purpose of the abovementioned project is to develop interactive serious game approaches and applications for Hsinchu County historical archives and architectures. Therefore, we present two applications, “3D AR for Hukou Old ” and “Hsinchu County History Museum AR Tour” which are in form of augmented reality (AR). By using AR imaging techniques to blend real object and virtual content, the users can immerse in virtual exhibitions of Hukou Old Street and Hsinchu County History Museum, and to learn in ubiquitous computing environment. <br><br> This paper proposes a content system that includes tools and materials used to create representations of digitized cultural archives including historical artifacts, documents, customs, religion, and architectures. The Digital ARt / ARchitecture Project is based on the concept of serious game and consists of three aspects: content creation, target management, and AR presentation. The project focuses on developing a proper approach to serve as an interactive game, and to offer a learning opportunity for appreciating historic architectures by playing AR cards. Furthermore, the card game aims to provide multi-faceted understanding and learning experience to help user learning through 3D objects, hyperlinked web data, and the manipulation of learning mode, and then effectively developing their learning levels on cultural and historical archives in Hsinchu County.
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Nina Rahayu, Nina Rahayu. „Meningkatkan Kreativitas Seni Melalui Permainan Kolase Ampas Kelapa Anak Usia Dini Di PAUD AL-FAIZ Kota Langsa“. At- Tarbawi 12, Nr. 1 (09.05.2020): 1–13. http://dx.doi.org/10.32505/1319.
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The problem on this study is that it is still lack of child creativity particularly in the arts. This can be seen from children who are not yet able to discriminate color and name color precisely as well as the use of less supportive game media in the development of child creativity. The purpose of the study was To figure out how to increase child art creativity through coconut amply collage games. The type of research used is qualitatively descriptive. Paud Al-Faiz's child research subject Paya Bujok Tunong Langsa numbered 10 group B children and research objects increased creativity through coconut dregs games. The instruments used on research through observation, interviews and documentation. As for the research results in this study that is, there is an increase in child art creativity while playing collage game. 90% of children who have started to be able to work on activities according to teacher intruction and are able to work according to indicators.
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Nina Rahayu, Nina Rahayu. „Meningkatkan Kreativitas Seni Melalui Permainan Kolase Ampas Kelapa Anak Usia Dini Di PAUD AL-FAIZ Kota Langsa“. At- Tarbawi 12, Nr. 1 (09.05.2020): 1–13. http://dx.doi.org/10.32505/tarbawi.v12i1.1557.
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The problem on this study is that it is still lack of child creativity particularly in the arts. This can be seen from children who are not yet able to discriminate color and name color precisely as well as the use of less supportive game media in the development of child creativity. The purpose of the study was To figure out how to increase child art creativity through coconut amply collage games. The type of research used is qualitatively descriptive. Paud Al-Faiz's child research subject Paya Bujok Tunong Langsa numbered 10 group B children and research objects increased creativity through coconut dregs games. The instruments used on research through observation, interviews and documentation. As for the research results in this study that is, there is an increase in child art creativity while playing collage game. 90% of children who have started to be able to work on activities according to teacher intruction and are able to work according to indicators.
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Evallyo, V. D., und V. P. Krutous. „“Humanization” of Art: Museums on the Internet“. Art & Culture Studies, Nr. 1 (2021): 222–43. http://dx.doi.org/10.51678/2226-0072-2021-1-222-243.
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In this article, the digital museum is examined through the perspective of the “humanization” processes, which is the reorientation of museums to reach the widest audience and to introduce works of art in media discourse. First of all, these problems cover the transformation of the usual communication between museums and their visitors. Thus, new accents are formed and landmarks are shifted from a work of art to its recipient. The purpose of this study is analyzing the visual component of museums’ websites, cultural research of digital content. As a result of the release of museums and their material and cultural archive in the field of mass culture, access to works of art, and its informational, expert support are realized, but also a kind of desacralization of cultural objects is fixed. The article concludes that the range of visual shows presented in digital museums is wide and relies largely on game aesthetics, on the possibility of interactive manipulation of website content.
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Vilchinskaya-Butenko, Marina E. „Modes of visualization of urban art: street art vs public art“. Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, Nr. 47 (2022): 18–34. http://dx.doi.org/10.17223/22220836/47/2.
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Urban art and related terms - public art and street art - are considered in the context of the fundamental importance of the physical, architectural and urban environment in which the artist's work is located. The purpose of the article is to identify the specifics of the modes of visualization of urban art as features of communication between the original event (object, phenomenon), the creator / visualizer of the image and the recipient of the visual image. The use of a set of art history methods allowed us to investigate the patterns of the emergence of art objects in the urban environment, taking into account the conditions of their visualization, to which the author refers the degree of freedom of content; the degree of conditionality of the work by the context of the urban environment; the potential duration of the existence of an art object in public space; its monologue / dialogicity; the degree of emotional impact. The conclusion is made about the asymmetry of visualization of two art practices - street and public art, and the reasons for this asymmetry are considered. It is noted that public art provides better conditions for the placement of the artist's work and a longer duration of the “ life” of the art object, it is more noticeable, more attractive to casual observers whose understanding of the context is superficial. The disadvantages of the visualization mode of public art include restrictions on creative freedom, weak attachment to the context and possibilities of the game with unique characteristics of the working environment and surfaces, the smoothness of the adjusted monologue, the predictability of reactions, which reduces the emotional response of the prepared viewer. Due to these limitations, the visualization mode of street art, as a more sincere, honest and relevant art, has a greater degree of “street trust”. The problem that arises at the level of theory is noted: being, like any manifestation of pop culture, more visible and ubiquitous, public art replaces the concept of “street art”, creating terminological confusion. In practice, public art festivals are called street art festivals, and all Russian legislative initiatives to support street art actually lead to the legitimization of monumental advertising and propaganda while simultaneously displacing unauthorized street work.
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Ikonomi, Joan, und Dorina Papa. „Post-Pandemic Heritage. Game Design Tools For An Engaging Experience“. Health and Wellbeing in the Post-Pandemic City, Nr. 24 (Januar 2022): 82–93. http://dx.doi.org/10.37199/f40002407.
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Digitisation of heritage and the creation of open digital archive contribute in a large scale dissemination of history and culture. Today, technology allows us not only to easily access information on heritage and view 3D models of buildings or artefacts, but also to experience virtually historic sites or historic object, by representing them accurately, either referring to the recreation of exiting objects or rebuilding models of objects as they may have appeared in the past (Roussou, 2002). Moreover, digital heritage platforms allow visitors to navigate through virtual spaces and access information data, but still provide a low level of interactivity and immersion (Champion, 2008). By providing simple navigation they offer passive interaction and less engagement, while affords to navigate and have inputs to which to respond offer a more active mental interaction. However, what is missing is dynamic involvement of users and an engaging narrative. Although, digital models today are becoming more and more realistic representations of the physical objects and in general of the environment, they still lack a narrative which describes the intangible elements of cultural heritage, human attitude in this environment and simulates the cultural context. In order to guarantee an effective engagement with learning experience and offer better entertainment to a larger audience, other than conservators, historians and archaeologists, this study will introduce an interactive and immersive approach in heritage 3D platforms based on game design tools. The paper will explore frst the state of the art on virtual heritage worldwide and in particular applications in the case of Albanian heritage, highlighting the level of interactivity and user engagement. Then, interactive tools from video games will be analysed and discussed in view of their incorporation in virtual heritage platforms or serious games to make the dissemination of virtual heritage more interactive and immersive. In this sense, this study will discuss how to develop interactive narrative for historical heritage based on interactivity and narration elements, how to develop an interactive story space and introduce player character as a view point in heritage exploration.
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Nurmalinda, Erna. „The Meaning of Tri Tangtu Principles in Sundanese Traditional Game “Oray-orayan”“. Jomantara: Indonesian Journal of Art and Culture 1, Vol. 1 No. 1 (31.01.2021): 14–26. http://dx.doi.org/10.23969/jijac.v1i1.3451.
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In West Java (Bandung) there are copious traditional games that are actually still played by children. But because of technological advances and the absence of fields for playing, the traditional games is now sidelined and even forgotten. Games are offered now, not only traditional games but also the games that sophisticated technological based derived from abroad. The traditional games of West Java that used to be played have been put aside. Traditional “Oray-orayan” game is a game of boys and girls known since ancient times. Besides educational elements (choir, sports and sensitivity) this game is also containing a fun entertainment for children. In Traditional Games “Oray-orayan” the desires can arise from thoughts or deeds, then the mind or knowledge evokes desire, after that there is a process of thought so that desire can manifested in action. The pattern of the three relationships in Tritangtu can be known from the structure of objects or artifacts. Tritangtu reflects and is represented in all systems and sub systems in Sundanese culture such as the State system, Social system, Legal system, Art system and others that relates to Tritangtu principles. Keywords; Game, Traditional, Oray-orayan, Meaning, Tritangtu.
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Dmitrievna, Evallyo Violetta. „Online Museums as a Complex Work of Art“. Perspectiva Filosófica 50, Nr. 2 (04.10.2023): 150–69. http://dx.doi.org/10.51359/2357-9986.2023.259054.
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Since the 21st century, digitalization has been actively implemented in all spheres of life, and this trend is relevant for Russian museums. The main content of the museum's digital environment is characterized by visual diversity and various communication accents. The same theme or exhibitions can be exploited in various visual forms, which allows you to see different shows. An important component of visual content is its split-screen implementation, which partially restores the lost material architectonics to the abstract digital space, or rather, creates an illusion of such a process. The purpose of this article is to analyze the digital museum as a complex art object. As a result of the study, it is concluded that the key features of the subject are media integration, the variability of communication modes, game manipulation of exhibiting objects, and in some cases overacted conceptuality. Communication with the digital museum’s content includes elements of interactivity, virtual immersion in the environment. All of these are characterized by a mostly private tone. By all its activities in the virtual media environment, the museum demonstrates the desire to correspond to modernity, to be an integral element of today's public culture, to have a memorable image.
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Antipkina, Elena N., und Olga N. Prokaeva. „Features of pre-scenography functioning in the ceremonial, ritual festive events of the Mordovians“. Finno-Ugric World 12, Nr. 1 (18.05.2020): 81–89. http://dx.doi.org/10.15507/2076-2577.012.2020.01.081-089.
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Introduction. Ritual, ceremonial and festive events of the Mordovians represent a sphere of concentration and representation of spiritual-moral and value-oriented views of the people. They contain the origins of theatre and scenography as types of art. However, they cannot be considered as independent types of art in its modern meaning, as they used to exist in forms of theatricalization (pretheater) and pre-scenography. The subject of the article is the specifics of the functioning of pre-scenography in ceremonial, ritual and festive events of the Mordovians, as well as the disclosure of its main types: character type, determination of the place of action and game type. Materials and Methods. The theoretical materials are based on the research in the field of theatre and scenography. The reliability and academic validity of the research are ensured by the sociocultural approach, as well as by research methods, namely system-typological method, analytical method and interpretation method. Results and Discussion. Having studied the functioning of pre-scenography in ritual, three types of ceremonial and festive events of the Mordovians are revealed. The character type included a variety of components: metaphorical image, nature phenomena and objects, anthropomorphic and zoomorphic images, as well as objects of material culture. The next type determined the place of action which included everyday human environment, as well as production and household spaces. The game type implied conversion of performers of rituals and ceremonies into zoomorphic images, into various human (sometimes imaginary) characters through costumes, makeup and masks. Conclusion. Based on the analysis of the ritual, ceremonial and festive events of the Mordovians, a typology of pre-scenography is given, the special features of its functioning are determined.
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Zhilina, Natalia. „Identifying Toys“. Stratum plus. Archaeology and Cultural Anthropology, Nr. 5 (31.10.2023): 15–35. http://dx.doi.org/10.55086/sp2351535.
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Signs of a toy are distinguished upon different materials: archaeological, ethnographic, of folk art and of personal experience. In the shape of the toy, there are signs of the impossibility of using it as a real prototype object: the nonconformance in the material, size, and simplification of the design. Appearance of a toy accurately points to the real prototype. Unlike sacred images, the toy focuses on the reality and pleasantness of the look, unlike decorative ones, it subordinates the decorative features to the concrete features of the prototype, although the toy is associated with the style of the time. The toy’s features point at its use in the game, possibility of free movement in the game space: absence of any details tightly fastening it with other objects; presence of details contributing to movement and change of position. Concrete toys go out of use due to a change in the nature of the games, a change in the attitude of the player: growing up, propensity to admire, rejection due to taste preferences. Works of folk crafts called “toys” become interior decorations, figurines, beautiful gifts. But they preserve the idea of a game, looking at them the human mind recreates the game, and for some time homo becomes homo ludens.
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Oktyabrskaya, Irina, und Lyudmila Lbova. „Modified Animal Bones in the Sacred, Game and Art Culture of Eurasia. Traditions for Millennia“. Stratum plus. Archaeology and Cultural Anthropology, Nr. 2 (30.04.2021): 219–33. http://dx.doi.org/10.55086/sp212219233.
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The authors address the phenomenon of small plastic — modified bones of hoofed animals in the cultures of Eurasia from the archaic to the present time. The focus of the research is astragalus etc., modified in form, decorated as objects of play, art and magic. The methodology includes reconstruction, typology, semantic analysis, etc. The interpretation of figurines is based on extrapolation into antiquity of ethnographic realities (play, fortune-telling, magic practices) representing the culture of hunters and pastoralists, mainly of the Turkic and Mongol peoples. The research proceeds from the initial integrity and syncretism of culture; the unity of the existence of the human community and its natural environment, the inextricable connection between Man and Animals. The diachronic analysis carried out within the framework of the study allows us to assert that in archaeological and ethnic cultures for three millennia, astragalus were distinguished by the stability of forms and functions. They are used in game, fortune telling and magical practices, and correlated with the idea of vitality — as a kind of entity that unites the world of people and animals. The structural-semiotic approach defines one of the main conclusions of the work, according to which the universalism and stability of ideas about joints are rooted in the initially syncretic mythos-ecological picture of the world, with its characteristic identity of anthropo- and zoomorphic codes of the chronotope.
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Gaffar, Borjsaz. „Investigation of the Semantic Field of "Chess" in Masnavi Molavi from the Viewpoint of "Associative Collocation"“. International Journal of Multicultural and Multireligious Understanding 10, Nr. 7 (07.08.2023): 727. http://dx.doi.org/10.18415/ijmmu.v10i7.5064.
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As we know, concepts, objects and phenomena around the poets' mind and eye can be of interest to him and all of these elements can be a platform for presenting his thoughts and emotions. Meanwhile, one of the semantic fields that is considered by the Persian poets is the presence of diverse variety of intellectual and practical games common in Iran's society at various times; among which, "Polo", "Backgammon", "Chess" and … are the ones that can be pointed out.One of the prominent features of Molavi's art in using the vocabulary, images and concepts of this "semantic field", is the careful observance of pillars and key principles, and in a better sense is the structure of chess game; As we know, the presence of at least two opponent, victory or defeat of one of the opponents and a pledge that the loser opponent must submit to the winner, are the essential conditions of this game. This is the fact that Masnavi confirms it.
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Gaffar, Borjsaz. „Investigation of the Semantic Field of "Chess" in Masnavi Molavi from the Viewpoint of "Associative Collocation"“. International Journal of Multicultural and Multireligious Understanding 10, Nr. 8 (10.08.2023): 229. http://dx.doi.org/10.18415/ijmmu.v10i8.5077.
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As we know, concepts, objects and phenomena around the poets' mind and eye can be of interest to him and all of these elements can be a platform for presenting his thoughts and emotions. Meanwhile, one of the semantic fields that is considered by the Persian poets is the presence of diverse variety of intellectual and practical games common in Iran's society at various times; among which, "Polo", "Backgammon", "Chess" and … are the ones that can be pointed out.One of the prominent features of Molavi's art in using the vocabulary, images and concepts of this "semantic field", is the careful observance of pillars and key principles, and in a better sense is the structure of chess game; As we know, the presence of at least two opponent, victory or defeat of one of the opponents and a pledge that the loser opponent must submit to the winner, are the essential conditions of this game. This is the fact that Masnavi confirms it.
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Münster, Sander, Ferdinand Maiwald, Isabella di Lenardo, Juha Henriksson, Antoine Isaac, Manuela Milica Graf, Clemens Beck und Johan Oomen. „Artificial Intelligence for Digital Heritage Innovation: Setting up a R&D Agenda for Europe“. Heritage 7, Nr. 2 (06.02.2024): 794–816. http://dx.doi.org/10.3390/heritage7020038.
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Artificial intelligence (AI) is a game changer in many fields, including cultural heritage. It supports the planning and preservation of heritage sites and cities, enables the creation of virtual experiences to enrich cultural tourism and engagement, supports research, and increases access and understanding of heritage objects. Despite some impressive examples, the full potential of AI for economic, social, and cultural change is not yet fully visible. Against this background, this article aims to (a) highlight the scope of AI in the field of cultural heritage and innovation, (b) highlight the state of the art of AI technologies for cultural heritage, (c) highlight challenges and opportunities, and (d) outline an agenda for AI, cultural heritage, and innovation.
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Uddin, Mohammad Shahab, Chiman Kwan und Jiang Li. „MWIRGAN: Unsupervised Visible-to-MWIR Image Translation with Generative Adversarial Network“. Electronics 12, Nr. 4 (20.02.2023): 1039. http://dx.doi.org/10.3390/electronics12041039.
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Unsupervised image-to-image translation techniques have been used in many applications, including visible-to-Long-Wave Infrared (visible-to-LWIR) image translation, but very few papers have explored visible-to-Mid-Wave Infrared (visible-to-MWIR) image translation. In this paper, we investigated unsupervised visible-to-MWIR image translation using generative adversarial networks (GANs). We proposed a new model named MWIRGAN for visible-to-MWIR image translation in a fully unsupervised manner. We utilized a perceptual loss to leverage shape identification and location changes of the objects in the translation. The experimental results showed that MWIRGAN was capable of visible-to-MWIR image translation while preserving the object’s shape with proper enhancement in the translated images and outperformed several competing state-of-the-art models. In addition, we customized the proposed model to convert game-engine-generated (a commercial software) images to MWIR images. The quantitative results showed that our proposed method could effectively generate MWIR images from game-engine-generated images, greatly benefiting MWIR data augmentation.
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Makai, Péter. „Video Games as Objects and Vehicles of Nostalgia“. Humanities 7, Nr. 4 (25.11.2018): 123. http://dx.doi.org/10.3390/h7040123.
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Barely 50 years old, video games are among the newest media today, and still a source of fascination and a site of anxiety for cultural critics and parents. Since the 1970s, a generation of video gamers have grown up and as they began to have children of their own, video games have become objects evoking fond memories of the past. Nostalgia for simpler times is evident in the aesthetic choices game designers make: pixelated graphics, 8-bit music, and frustratingly hard levels are all reminiscent of arcade-style and third-generation console games that have been etched into the memory of Generation X. At the same time, major AAA titles have become so photorealistic and full of cinematic ambition that video games can also serve as vehicles for nostalgia by “faithfully” recreating the past. From historical recreations of major cities in the Assassin’s Creed series and L. A. Noire, to the resurrection of old art styles in 80 Days, Firewatch or Cuphead all speak of the extent to which computer gaming is suffused with a longing for pasts that never were but might have been. This paper investigates the design of games to examine how nostalgia is used to manipulate affect and player experience, and how it contributes to the themes that these computer games explore. Far from ruining video games, nostalgia nonetheless exploits the associations the players have with certain historical eras, including earlier eras of video gaming. Even so, the juxtaposition of period media and dystopic rampages or difficult levels critically comment upon the futility of nostalgia.
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Bailey, Andrew Remington. „The Museum and the Killing Jar“. Animal Crossing Special Issue 13, Nr. 22 (16.02.2021): 7–22. http://dx.doi.org/10.7202/1075260ar.
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Within the Animal Crossing series, players have always had the ability to collect insects and then donate them to a museum where they can then be permanently exhibited. This paper makes the argument that this collecting and exhibiting of game objects works to reflect many of the ways that videogames have begun to take up an increasingly prominent place within real world institutional exhibitions, archives, and collections. Through a conjoined lens that is equally informed by games preservation, etymology, and art history this essay works to unpack the intricacies of how the museum and collecting function with the Animal Crossing series. This examination of Animal Crossing will then be applied more broadly to two museums (the MoMA and the V&A) exhibition case studies, making the comparative argument that overtly taxonomic methods of display and archiving can work to deaden videogames’ inherently mutable vitality. By speculatively thinking of videogames as things akin to the bugs of Animal Crossing, to be kept alive throughout the archival process rather than dead objects to be preserved, a new, more productive lens of videogame curation can be gleaned.
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Mika, Patrycja. „Handicrafts in developing children's creative attitude. Application in educational practice“. Problemy Opiekuńczo-Wychowawcze 625, Nr. 10 (31.12.2023): 21–30. http://dx.doi.org/10.5604/01.3001.0054.3029.
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In the modern world, there is a need to foster creative attitudes from an early age. Guilford’s and Lowenfeld’s research has proven that developing a creative attitude through fields related to art (art and music) and technology is reflected in the development of creativity in later life, e.g., in learning process. Children have an innate need to create, transform and experiment. This is especially noticeable at pre-school and early school age when they are keenly interested in the objects and phenomena surrounding them. Handicrafts use natural materials in an unconventional way and provide children with real tools. They create surprising, new and curiosity-stimulating situations in which children can develop creative attitudes. The article describes the method of conducting classes according to a selected scenario (tic-tac-toe game) in a private kindergarten near Warsaw, where a pedagogical innovation was carried out involving the implementation of handicraft classes in the 2022/2023 school year. Pedagogical observation made it possible to draw the conclusion that handicraft workshops support the development of creative attitudes in preschool children and influence their agency, while the adult’s openness to implementing children’s ideas into practice strengthens children’s self-motivation and sense of coherence.
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Sommer, Carol. „The (serious) game of classification: (I think I’m happy, she thought, but am I real?)“. Journal of Writing in Creative Practice 13, Nr. 1 (01.01.2020): 117–29. http://dx.doi.org/10.1386/jwcp.13.1.117_1.
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The principle that classification may always be provisional and illusory continues to be of relevance and concern to art and curation that seeks to expose the fallacies of systematic order and taxonomy. Taking the museum as a starting point, this article explores the curation of information and objects by writers and artists who offer alternative spaces of representation and interpretation. Language is fundamental to these curatorial undertakings, for example: the keywords chosen as starting points by Daniel Spoerri and Marie-Louise Plessen for their 1981 Musée Sentimental de Prusse; Tate Liverpool’s choice of artwork for their 2014 interpretation of Raymond Williams’ 1988 book Keywords; and Rose English’s choice of words to explore during her 1983 performance Plato’s Chair, included in the Keywords exhibition. Developing into a consideration of social networking as a space of curated representation, the article examines my own use of the hashtag and its relation to classification and keywords in a recent Instagram project @cartography_for_girls. I set up the account to share the thoughts of philosopher and novelist Iris Murdoch’s fictional women characters on a platform synonymous with personal articulation and connection seeking. The hashtag offered a taxonomy with which to engage with Iris Murdoch’s advocacy of the acceptance of contingency and to her assertion that ‘the task of classifying […] can perhaps never be more than a (serious) game’.
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Wedani, Putu, und I. Wayan Suyanta. „Comprehending The Concept Of Comparison In Early Childhood Through Block Games“. International Journal of Multidisciplinary Sciences 1, Nr. 4 (11.11.2023): 415–24. http://dx.doi.org/10.37329/ijms.v1i4.2275.
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Early childhood was the most crucial age in obtaining an education. In Early Childhood Education (PAUD), six development aspects need to be considered by the teacher. Those aspects included NAM, cognitive, physical motor, language, social-emotional, and art. These developments could stimulate various activities. Education in early childhood is not only about academic skills, but teachers must be able to develop children’s creativity. One of the crucial development aspects was cognitive. Children’s cognitive development could stimulate through various activities, including comparison ability. Comparison ability was an activity or comprehending comparison, both in the form of images and concrete objects. Comparison is one of the activities given to children to stimulate cognitive development. However, judging from the phenomenon in the field, the lack of teacher creativity in utilizing APE (Educational Game Tools) made the children less comprehend the concept of comparison. So, it was provided solutions by researching and comprehending the concept of comparison through block games. This study aimed to provide comprehension to B group students at Kumara Sari 1 Penarungan Kindergarten regarding the concept of comparison in early childhood through block games, as well as improving the creativity of the students and teachers. The block games aimed to develop cognitive and physical motor skills aspects in early childhood. This research was qualitative research with the model of Miles and Huberman. In this model, there were several stages conducted, including data reduction, data display, and conclusion (verification). Qualitative research must be conducted directly so that researchers can find the needed data. The data collection techniques used by researchers were observation, interviews, and documentation. This study’s primary informants or respondents were B group students, then B group class teachers and school principals. The results of this study stated that there was an improvement in the B group student comprehension at Kumara Sari I Penarungan Kindergarten regarding the concept of comparison through block games and increasing the creativity the students possessed. So, the block games could be used by the teachers to improve children’s comprehension of comparison abilities or the ability to compare objects such as concrete objects, pictures, and videos. In addition, the game tools could be used to improve students’ creativity.
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Schwendimann, Beat A., Bram De Wever, Raija Hämäläinen und Alberto A. P. Cattaneo. „The State-of-the-Art of Collaborative Technologies for Initial Vocational Education: A Systematic Literature Review“. International Journal for Research in Vocational Education and Training 5, Nr. 1 (26.04.2018): 19–41. http://dx.doi.org/10.13152/ijrvet.5.1.2.
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Future workplaces require collaboration skills in which members of different work communities use technologies to solve complex problems. Vocational education and training (VET) programs need to meet the challenge to prepare students to be part of a competent workforce. Particularly initial vocational education is under pressure to develop learners’ collaboration skills and abilities. To date, however, no attempt has been made to perform a comprehensive review of the use of computer-supported collaborative learning (CSCL) technologies across different vocational education settings to account for contextual factors of VET. In this systematic review, 26 published studies were analyzed with respect to their demographics, research methodology, use of technology, and measured outcomes. This review illuminates that research on CSCL still leaves the vocational learning context as an under-represented field of study. At the same time, technologies offer a range of new types of learning possibilities for vocational education. As the direct result of that development, vocational education is increasingly taking place in new technology-enhanced learning settings. Education can benefit from the opportunities of CSCL technologies, but on the other hand, such technologies create new challenges for facilitating vocational learning. Therefore, this review also identifies three topic areas specific to vocational learning (collaborative writing-to-learn, simulations and game-like solutions, and tangible objects) and enumerates desirable lines for future research.
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Zhang, Qinglong, Lu Rao und Yubin Yang. „A Novel Visual Interpretability for Deep Neural Networks by Optimizing Activation Maps with Perturbation“. Proceedings of the AAAI Conference on Artificial Intelligence 35, Nr. 4 (18.05.2021): 3377–84. http://dx.doi.org/10.1609/aaai.v35i4.16450.
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Interpretability has been regarded as an essential component for deploying deep neural networks, in which the saliency-based method is one of the most prevailing interpretable approaches since it can generate individually intuitive heatmaps that highlight parts of the input image that are most important to the decision of the deep networks on a particular classification target. However, heatmaps generated by existing methods either contain little information to represent objects (perturbation-based methods) or cannot effectively locate multi-class objects (activation-based approaches). To address this issue, a two-stage framework for visualizing the interpretability of deep neural networks, called Activation Optimized with Perturbation (AOP), is designed to optimize activation maps generated by general activation-based methods with the help of perturbation-based methods. Finally, in order to obtain better explanations for different types of images, we further present an instance of the AOP framework, Smooth Integrated Gradient-based Class Activation Map (SIGCAM), which proposes a weighted GradCAM by applying the feature map as weight coefficients and employs I-GOS to optimize the base-mask generated by weighted GradCAM. Experimental results on common-used benchmarks, including deletion and insertion tests on ImageNet-1k, and pointing game tests on COCO2017, show that the proposed AOP and SIGCAM outperform the current state-of-the-art methods significantly by generating higher quality image-based saliency maps.
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Poorghorban, Younes. „The Commodified Happiness: The Only Established Source of Meaning in Oscar Wilde’s The Happy Prince and The Nightingale and the Rose“. Prague Journal of English Studies 11, Nr. 1 (01.07.2022): 51–65. http://dx.doi.org/10.2478/pjes-2022-0003.
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Abstract Oscar Wilde’s fairy tales are not as well-recognised as his novel or his dramatic works. This paper circles around two of his tales, The Happy Prince and The Nightingale and the Rose. Through a postmodernist outlook, this study postulates the vigorous diatribe of Wilde against the consumer culture which was dominant within Victorian society. Wilde asserts that the Victorian mind-set claims that happiness is attainable through accumulating signs of affluence and he ironically mocks this notion of happiness which is entitled to commodified objects. To him, happiness is defined through a strict sense of Christian morality and Christ-like love and kindness. His aesthetic views are entangled with morality and he fails to celebrate art for art’s sake. Moreover, this study asserts that Wilde is aware of the dominant language games, and his application of the technical language game for the Prince, the Nightingale, and the Swallow is in debt to his monolithic morality or his opportunistic character. At last, Wilde refuses to celebrate beauty if morality is absent and in this way, his aesthetic concerns become rather contradictory.
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Gaisina, Fanira Faskhetdinovna. „Methods of fortune telling and predictions in Bashkir folklore“. Samara Journal of Science 11, Nr. 3 (01.09.2022): 224–28. http://dx.doi.org/10.55355/snv2022113215.
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The paper is the first to describe and classify fortune telling and predictions in the Bashkir folk art by various methods. This phenomenon has been preserved in the Bashkir culture since mythological times up to the present day, mainly in oral form. The methods are divided by the author into general and personal, into pre-Islamic (related to nature, natural phenomena, objects) and Islamic, appeals to the saints saturated with different symbols. The work mainly is based on the 19982018 years expedition materials of the author. The paper shows the reflection of the methods of fortune-telling and predictions in different genres of Bashkir folklore (in the calendar rite Cuckoo Tea, in medicine, in the game genre, etc.). Islamic methods of fortune-telling and predictions are singled out separately as well as meteorological signs, as a way of predictions, and beliefs related to human anthropology. The peculiarity of the paper is that some methods of divination were recorded and described for the first time. The work is intended for ethnographers, folklorists and local historians.
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Sakse, Līga. „PRINCIPLES AND LOGIC OF THE DEPICTION OF FLOWERS IN VANITAS PHOTOGRAPHY“. Culture Crossroads 12 (10.11.2022): 72–84. http://dx.doi.org/10.55877/cc.vol12.125.
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Art must reflect something that cannot be called trivial or perceived by rational means, as well as what we cannot experience in reality – the borderline between life and non-existence, death among other things. Certainly, ways of depiction vary – there are works of art where the temporariness of life and the inevitability of death have been modelled as a type of a game and there are also those works of art that bear an indirect reminder of death – through allegories or metaphors. Vanitas belongs to the latter. Vanitas is an allegorically presented still life that emerged as an independent genre in about 1550 and became most widespread in the 16th and 17th centuries in Belgium and Flanders. Traditionally the composition of a still life of this type included a human skull, a burnt-out candle, small cut flowers as well as other objects that all seemed to say – everything and anything is transient. The purpose of the paper is to undertake the comparative analysis of vanitas still lives by artists from the USA, Japan and Germany. The photographs of flowers will be used to read the cultural historical message contained in them as well as the technical means of expression used in photography that are enhanced by a profoundly personal depiction. The perceivable designation created by the photographer and the aesthetic object registered by the collective consciousness will be defined and described taking into consideration, as far as possible, the social context that has led to the creation of the given artefact. Works of art will be summarised according to different principles of depiction and the main trends that are reflected in contemporary art photography and have not been encountered before will be outlined. It will result in a general overview through applying acceptable norms that will make it possible to determine whether the picture is or is not contemporary as well as to establish criteria characterising the concept of the contemporary.
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Pape, Toni. „Moving in stealth: On the tracking shot as a technique for imperceptibility“. Critical Studies in Television: The International Journal of Television Studies 14, Nr. 1 (März 2019): 40–54. http://dx.doi.org/10.1177/1749602018816876.
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This article explores recent uses of the tracking shot in various media. Examples drawn from television, video games and video art reveal that recent audiovisual media have frequently used a particular kind of tracking shot that follows an individual through a complex environment. This article argues that this tracking shot contributes to an aesthetic of stealth, that is, a perceptual attunement to notions of imperceptibility and secrecy. The stealth tracking shot can thus be seen as one of the aesthetic principles that articulate discourses of securitisation. The argument proceeds in three steps. First, the article shows that this specific use of the tracking shot takes inspiration from third-person video games. An analysis of the stealth game Splinter Cell: Blacklist (2013) shows how the mobile ‘following camera’ allows the viewer to perceive the avatar in his or her environment. Then, in an analysis of the unbroken tracking shot in True Detective (2014), it is demonstrated how this kind of tracking shot contributes to a reformulation of the notions of law enforcement underlying crime fiction. Specifically, the tracking shot is related to the notion of stealth democracy. Finally, the article considers Hito Steyerl’s video ‘Guards’ to show that the aesthetic principles of stealth operate not only in individual media objects but more generally in public spaces and institutions such as museums and art galleries. To conclude, the article situates the stealth tracking shot in a more general consideration of the politicality of media aesthetics.
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Idziak-Smoczyńska, Urszula. „Wittgenstein and the Theatre of Confession“. Wittgenstein-Studien 9, Nr. 1 (21.02.2018): 31–49. http://dx.doi.org/10.1515/witt-2018-0004.
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Abstract:In this article we perform a juxtaposition of Wittgenstein’s confession with the art of drama. Our aim is to transpose the private language argument criticizing the ostensive definition of internal objects (beetle in a box thought experiment) onto confession and the art of drama performance. The play (possibly called “game”) of the actor is not an expression of his soul interior, but an autonomous necessity in the most decisive meaning – which means: the only thing to be done. Correspondingly, confession doesn’t express any interior misery – it is an acting (the double sense of this word will be further developed), the only possible acting within these conditions, the only possible response to one’s condition – a condition of mutilation where human misery appears very distinctly. Confession creates neither a relation of power (as Foucault was demonstrating in his late writings) nor a form of emotional exhibitionism but a language game consisting on words judging oneself, immune to interpretation, explanation, and vanity coming from their expression. Irreplaceable words become the agent of salvation.1 This article is the effect of great encounters that helped me – a non-Wittgensteinian – to “see” Wittgenstein perhaps more than understand his philosophy. I should first address many thanks to Dr. Ilse Somavilla who welcomed me on the beautiful roof of the Brenner Archives in Innsbruck together with its director Prof. Ulrike Tanzer (Thank you!). It is through Ilse Somavilla’s writings and archive editing work that I could engage myself and follow her on a path of reading Wittgenstein with a sensibility for religion and art. I owe also a lot of thankfulness to Prof. Alois Pichler for long lasting, repeated hospitality in the Wittgenstein Archives at the Bergen University and great patience for my plans of developing research plans about Wittgenstein in the Polish Galicia. The ability to visit these two places, Norway and Austria, have left inside myself a Wittgensteinian imagery that creates the scenography of my philosophical attempt inside this article. My research would not be possible without receiving the scholarship of the Republic of Austria OEAD for which I also express my deep gratitude. I am also very grateful to Kasia Mala for her linguistic revision of my article. And finally, what triggered this Winn-gensteinian performance were unforgettable dinners with Maja, my Mother Agata, and my son Światopełek – to say they were inspiring is not enough…
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Atamanchuk, Nina, Svetlana Yalanska und Oksana Tur. „PRESCHOOL CHILDREN’S CREATIVE DEVELOPMENT OF PRACTICAL ART METHODS“. Psychological journal 6, Nr. 10 (30.10.2020): 17–28. http://dx.doi.org/10.31108/1.2020.6.10.2.
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The article presents the theoretical analysis and empirical research on preschool children’s creative development by means of art. We are convinced that art practices as an innovative technology should be used in order to develop children's abilities and creativity, the creativity of adults working with children. After all, the basis of art practices is art as an activity that reveals the reality in specific sensory images. We have determined that the productive activities that are most interesting for preschool children are drawing and fairy-tale situations. The empirical study used drawing and fairy-tale techniques. We selected and described the art practices to be used in work with preschool children with the aim to develop such qualities as observation, attention, memory, imagination, fantasy. These qualities contribute to the development of preschool children’s independent creative activities, which form all the best human qualities and reveal their, often hidden, talents, skills and abilities. The children from the experimental group showed more creative elements and did it clearly during tasks solving compared to the control group. They offered more original options in addition to the standard vision of objects and phenomena. Modern preschool children are characterized by decreased activity, poorer imagination. Preschoolers’ creative development lags far behind their peers from the previous century. In addition, modern children have either high or low creative development (only few children showed medium development). Children’s awareness of modern electronic devices makes them dependent on gadgets, computers and television. At the same time, the number of gifted children has increased dramatically, as well as indigo children, who are characterized by super-abilities and changes in their psyche. All these facts point to problems and contradictions existing at modern older preschoolers. Participating in art practices, preschool children can reveal their potential for the development of their creativity. Children learn to solve various creative tasks, express themselves artistically and develop hidden talents. Art promotes children's abilities, motives, knowledge and skills, so that they create something new, original, unique. The proposed art practices opens the space for educators, psychologists at children's educational institutions to develop children’s creativity, because humanity has not yet invented a better creative tools than fairy tales, drawing, games, stories. From the first years of life, children have a natural need to show their own uniqueness, individuality, to reveal their talents and creative abilities. In kindergarten, children love to draw, sing, dance, having great fun. There is no doubt that art is the language of children’s souls. It is an efficient tool for the development of preschooler’s abilities, skills and creativity. Art practice for preschool children is an interesting and bright game.
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YAVUZ, Ömer Emre. „A STUDY ON THE PROBLEM OF MEANING IN THE ART OF SCULPTURE“. ArtGRID - Journal of Architecture Engineering and Fine Arts 5, Nr. 2 (31.12.2023): 147–58. http://dx.doi.org/10.57165/artgrid.1293752.
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This study explores the complex relationship between the meaning of sculpture and its making process in the context of the philosophy of language. Sculpture is a unique art form that involves the creation of three-dimensional objects that occupy physical space. However, the meaning of a sculpture is not limited to its spatial characteristics alone. This study identifies two distinct levels of meaning in sculpture: its relation to space and its making process. While the former has received considerable attention in the literature, the latter has been largely overlooked. Therefore, this study focuses on the semantic relationship between Richard Serra's sculptures and his sculpture-making processes, particularly in his early works.
Richard Serra is widely regarded as one of the most important artists of the Process Art movement, which emerged in the 1960s and emphasizes the importance of the making process in art. The study questions the reduction of the meaning of sculpture to a mere action and seeks to establish a deeper relationship between the philosophy of language and the process of sculpture. To achieve this, the study draws on the works of Ludwig Wittgenstein, J. L. Austin, and John R. Searle, who are some of the most important philosophers of language of the 20th century.
Wittgenstein's concept of language games and his emphasis on the social context of language use is particularly relevant to this study. The study explores how Serra's sculpture-making processes can be seen as a form of language game, with its own rules and conventions. Similarly, Austin's concept of performative language provides a framework for understanding how the making process of a sculpture can be seen as a form of performative action. The study also draws on Searle's theory of speech acts, which suggests that language use is not just a matter of describing the world, but also of performing actions and creating new realities.
Overall, this study represents an important contribution to the field of art and philosophy. By exploring the relationship between the meaning of sculpture and its making process, the study challenges traditional notions of art and raises important questions about the nature of meaning and representation in art. The study also demonstrates the relevance of the philosophy of language to the study of art and provides a framework for future research in this area.
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Shevchenko, Liudmyla, und Natalia Novoselchuk. „METHODS OF URBAN ENVIRONMENT DESIGN BY ART AND GRAPHIC MEANS“. Urban development and spatial planning, Nr. 78 (29.10.2021): 558–69. http://dx.doi.org/10.32347/2076-815x.2021.78.558-569.
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The article is devoted to the methods of urban environment design of the XXI centuries by artistic and graphic means. The process of their inclusion in the urban environment was gradual. It began with painting, graphics, sculpture, arts and crafts and monumental arts. A new wave of artistic and graphic means in the urban environment began to develop intensively in the late nineteenth - early twentieth century. It was due to social and cultural processes in specific cities and countries. The use of various techniques in design began to be introduced from this period. In particular, such as: ready-made, found objects, assemblage, carving, lettering, perforation and others. Currently, there is a problem of perfection of such decisions with the intensification of the processes of participation in them not only professionals but also ordinary citizens.
Artistic and graphic elements adjust the urban space to a certain thematic (content) atmosphere. They become a reflection of certain trends in art, but already in the urban space, like works of fine art in the interior. The most common among them are the following: surrealism; conceptuality; contextual game; visual illusion (optical illusion), irony, self-irony, wit, humor; metaphor (metaphorical poetics).
Works of art give a wide range of possibilities for their application in architectural and urban planning. In practice, new artistic methods were developed along with the already known ways of designing the visual image of the elements. As a result of the analysis of a number of domestic and foreign cities the methods of design of the architectural environment based on active use of the invented art and graphic means are revealed. Among them are deliberate exaggeration of the image (scale, hyperbolization) and change the traditional shape and size of artistic elements, increase contrast, copying and repetition of the real landscapes, imitation of perspective images, and enrichment of the urban space with architectural details, creation of the provocation.
The variety of artistic methods requires their correct application in the urban environment. It is necessary in order for them to perform their assigned role properly. The realization of creative artistic ideas in the urban spaces of the XXI century is due to the introduction of new engineering and creative forms, innovative technologies; introduction of significant supergraphic and font compositions, new techniques of evening lighting and color; tolerance in the use of graphic arts in historical spaces.
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Sáez-López, José-Manuel, María Luisa Sevillano-García-García und María de los Ángeles Pascual-Sevillano. „Application of the ubiquitous game with augmented reality in Primary Education“. Comunicar 27, Nr. 61 (01.10.2019): 71–82. http://dx.doi.org/10.3916/c61-2019-06.
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Augmented reality (AR) immersion enables virtual objects and real environments to coexist and encourage experimentation with phenomena that are not possible in the real world. Augmented reality is generating new opportunities for the development of ubiquity within educational environments. The objective of this study was to analyze the impact that the integration of ubiquitous game approaches with augmented reality has on learning. A quasi-experimental study was carried out with 91 sixth-grade primary school students; the learning scenario was designed and the augmented reality application “WallaMe” was selected for use in five sessions of a didactic unit in Art Education. Through pretest and posttest procedures, academic performance and information search skills were evaluated, and, a Likert scale analyzed the motivation and collaboration variables among the students. The results showed that the experimental group obtained statistically significant improvements in the academic performance of the subject, motivation, in the search for, and analysis of, information, level of fun and collaboration. The conclusion is that the dynamic activities managed in the intervention, which made use of augmented reality and localization, benefit teaching-learning processes, and encourage innovation and improvement through educational technology. La inmersión de la realidad aumentada (RA) propicia la coexistencia de objetos virtuales y entornos reales que permiten la experimentación con fenómenos que no son posibles en el mundo real. La realidad aumentada está generando una nueva oportunidad de crecimiento de la ubicuidad en los entornos educativos. El objetivo de este estudio es analizar el impacto que tiene sobre el aprendizaje la integración educativa de los enfoques de juego ubicuo con realidad aumentada. Se realizó un estudio cuasi experimental con 91 alumnos de sexto curso de Educación Primaria, se diseñó el escenario de aprendizaje y se seleccionó la aplicación de realidad aumentada «WallaMe», que fue utilizada en cinco sesiones de una unidad didáctica del área de Educación Artística. Mediante el procedimiento de pretest y postest se evaluaron el rendimiento académico y las habilidades de búsqueda de información, y una escala Likert analizó las variables motivación y colaboración entre los estudiantes. Los resultados mostraron que el grupo experimental obtiene mejoras estadísticamente significativas en la motivación hacia el aprendizaje, el rendimiento académico de la materia y en la competencia digital. En definitiva, se concluye que las actividades dinámicas manejadas en la intervención, que hacen uso de realidad aumentada y localización, aportan beneficios en los procesos de enseñanza aprendizaje, y propician una innovación y mejora educativa con el uso de la tecnología educativa.
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Sakhno, Irina M. „“Ut Pictura Poesis”: the Poetic and Pictorial Emblem of the Baroque“. Observatory of Culture, Nr. 5 (28.10.2015): 94–101. http://dx.doi.org/10.25281/2072-3156-2015-0-5-94-101.
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The article describes parallelism of the two arts, poetry and painting, in the emblematic books of the Baroque epoch. In the Baroque art, an emblem, as a visual metaphor, formed stylistic singularity of the culture of the 16th-17th centuries. The emblem represented the principle of simultaneity, a picture with a brief motto coexisting with a didactic or spiritual text. Not only was the emblem an ornamental “insertion”, a piece of encrusted graphics, but it also reflected the Baroque principle of a witty game. A book of emblems could act as a visual dictionary of signified objects. The significance of finished emblems was not limited to their pictographical meanings, they could also include some symbolic senses. Such verbal pictures illustrating abstract notions can be found in the “Emblemata” (1531) by Andreas Alciatus. The synthesis of the verbal and the visual, as an allegorical way of defining the world and the exegesis of Biblical texts, provided wide opportunities for the emblematic signification. The Picta Poesis Baroque book “Graphical Poetry. Alchemy” (1552) by Barthélemy Aneau contained an alchemy symbolism reflecting the character of the Renaissance worldview. Dutch artists of the 17th century developed the theme of evanescence and vanity in their emblematic still-life painting.
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Li, Shuai, und Hongjun Li. „Deep Generative Modeling Based on VAE-GAN for 3D Indoor Scene Synthesis“. International Journal of Computer Games Technology 2023 (20.09.2023): 1–11. http://dx.doi.org/10.1155/2023/3368647.
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With the advancement of virtual reality and 3D game technology, the demand for high-quality 3D indoor scene generation has surged. Addressing this need, this paper presents a method leveraging a VAE-GAN-based framework to conquer two primary challenges in 3D scene representation and deep generative networks. First, we introduce a matrix representation to encode fine-grained object attributes, alongside a complete graph to implicitly capture object spatial relations—effectively encapsulating both local and global scene structures. Second, we devise a unique generative framework based on VAE-GAN and the Bayesian optimization. This framework learns a Gaussian distribution of encoded object attributes through a VAE-GAN network, allowing for sampling and decoding of the distribution to generate new object attributes. Subsequently, a U-Net is employed to learn spatial relations between objects. Lastly, the Bayesian optimization module amalgamates the generated object attributes, spatial relations, and priors learned from data, conducting global optimization to generate a logical scene layout. Experimental results on a large-scale 3D indoor scene dataset substantiate that our method effectively learns inter-object relations and generates diverse and plausible indoor scenes. Comparative experiments and user studies further validate that our method surpasses the current state-of-the-art techniques in indoor scene generation and is comparable to real training scenes.
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Shevtekar, Prof Sumit, und Sushant Langhi. „Automating Helmet Usage Detection: A YOLOv8 Based Framework“. International Journal for Research in Applied Science and Engineering Technology 12, Nr. 5 (31.05.2024): 461–71. http://dx.doi.org/10.22214/ijraset.2024.61533.
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Abstract: The biggest threat to Powered two-wheeler(PTW) riders is a head injury. With the humongous amount of daily commuters on such PTWs, the risk only increases substantially. In such cases, helmets reduce the risk of head injuries in accidents but not every citizen is keen on their use. In India, where the use of motorcycles is widespread, ensuring helmetuse remains a challenge. This study explores the effectiveness of YOLOv8(You Only Look Once) a state-of-the-art single-stage object detection algorithm for helmet detection on Indian roads [14]. The CNN(Convolutional Neural Networks) based technologyimplements many other efficient, reliable and quick algorithmsto train, validate and predict the object’s detection, segmentationand classification task. We leverage the use of a publicly available Indian helmet dataset from Kaggle, containing 942 images with annotations. This an image dataset of real-life powered two-wheeler riders. The dataset has images and video frames for training on 5 different objects/classes along with annotations that specify thoseobjects. This multi-class approach offers valuable insight intohelmet usage patterns paves shows us the way for real-world applications for automated traffic monitoring. Real-time helmet and number plate detection can become a game changer in trafficmonitoring and can strengthen basic safety laws