Journal articles on the topic 'Art Exhibition techniques Social aspects'
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Ab Gani, Muhamad Abdul Aziz, and Ishak Ramli. "Editorial Preface." Idealogy Journal 4, no. 2 (September 28, 2019): 1. http://dx.doi.org/10.24191/idealogy.v4i2.265.
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We would like to present, with great pleasure, the third volume of a scholarly journal, journal of arts and social Science. This journal is devoted to the gamut of arts and social science issues, from theoretical aspects to application-dependent studies and the validation of emerging technologies in arts. This journal was envisioned and founded to represent the growing needs of arts and social science as an emerging and increasingly vital field, Its mission is to become a voice of the arts and social science community, addressing researchers and practitioners in areas ranging from arts to applied arts, from design to technology in design, from humanity to social science, presenting verifiable arts methods, findings, and solutions. Transactions on arts focuses on original high-quality research in the realm of social science in parallel and distributed environments, encompassing facilitation of the theoretical foundations and the applications of arts to massive daily life. The Journal is intended as a forum for practitioners and researchers to share arts techniques and solutions in the area, to identify new issues and to shape future directions for research. In this issue, is discussing about art, design, and culture in various area. This special edition focusses on several issue in Art. The writings in this issue reflect the artworks in the exhibition title STILL (A) LIVE organized by Department of Fine Art, Faculty of Art & Design, UiTM Perak. The collaborator researcher shared their in-depth description of the improvement of civilization in Asian
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Kannike, Anu, and Ester Bardone. "Köögiruum ja köögikraam Eesti muuseumide tõlgenduses." Eesti Rahva Muuseumi aastaraamat, no. 60 (October 12, 2017): 34–60. http://dx.doi.org/10.33302/ermar-2017-002.
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Kitchen space and kitchen equipment as interpreted by Estonian museums Recent exhibitions focusing on kitchen spaces – “Köök” (Kitchen) at the Hiiumaa Museum (September 2015 to September 2016), “Köök. Muutuv ruum, disain ja tarbekunst Eestis” (The Kitchen. Changing space, design and applied art in Estonia) at the Estonian Museum of Applied Art and Design (February to May 2016) and “Süüa me teeme” (We Make Food) at the Estonian National Museum (opened in October 2016) – are noteworthy signs of food culture-related themes rearing their head on our museum landscape. Besides these exhibitions, in May 2015, the Seto farm and Peipsi Old Believer’s House opened as new attractions at the Open Air Museum, displaying kitchens from south-eastern and eastern Estonia. Compared to living rooms, kitchens and kitchen activities have not been documented very much at museums and the amount of extant pictures and drawings is also modest. Historical kitchen milieus have for the most part vanished without a trace. Estonian museums’ archives also contain few photos of kitchens or people working in kitchens, or of everyday foods, as they were not considered worthy of research or documentation. The article examines comparatively how the museums were able to overcome these challenges and offer new approaches to kitchens and kitchen culture. The analysis focuses on aspects related to material culture and museum studies: how the material nature of kitchens and kitchen activities were presented and how objects were interpreted and displayed. The research is based on museum visits, interviews with curators and information about exhibitions in museum publications and in the media. The new directions in material culture and museum studies have changed our understanding of museum artefacts, highlighting ways of connecting with them directly – physically and emotionally. Items are conceptualized not only as bearers of meaning or interpretation but also as experiential objects. Kitchens are analysed more and more as a space where domestic practices shape complicated kitchen ecologies that become interlaced with sets of things, perceptions and skills – a kind of integrative field. At the Estonian museums’ exhibitions, kitchens were interpreted as lived and living spaces, in which objects, ideas and practices intermingle. The development of the historical environment was clearly delineated but it was not chronological reconstructions that claimed the most prominent role; rather, the dynamics of kitchen spaces were shown through the changes in the objects and practices. All of the exhibits brought out the social life of the items, albeit from a different aspect. While the Museum of Applied Art and Design and the Estonian Open Air Museum focused more on the general and typical aspects, the Hiiumaa Museum and the National Museum focused on biographical perspective – individual choices and subjective experiences. The sensory aspects of materiality were more prominent in these exhibitions and expositions than in previous exhibitions that focused on material culture of Estonian museums, as they used different activities to engage with visitors. At the Open Air Museum, they become living places through food preparation events or other living history techniques. The Hiiumaa Museum emphasized the kitchen-related practices through personal stories of “mistresses of the house” as well as the changes over time in the form of objects with similar functions. At the Museum of Applied Art and Design, design practices or ideal practices were front and centre, even as the meanings associated with the objects tended to remain concealed. The National Museum enabled visitors to look into professional and home kitchens, see food being prepared and purchased through videos and photos and intermediated the past’s everyday actions, by showing biographical objects and stories. The kitchen as an exhibition topic allowed the museums to experiment new ways of interpreting and presenting this domestic space. The Hiiumaa Museum offered the most integral experience in this regard, where the visitor could enter kitchens connected to one another, touch and sense their materiality in a direct and intimate manner. The Open Air Museum’s kitchens with a human face along with the women busy at work there foster a home-like impression. The Applied Art and Design Museum and the National Museum used the language of art and audiovisual materials to convey culinary ideals and realities; the National Museum did more to get visitors to participate in critical thinking and contextualization of exhibits. Topics such as the extent to which dialogue, polyphony and gender themes were used to represent material culture in the museum context came to the fore more clearly than in the past. Although every exhibition had its own profile, together they produced a cumulative effect, stressing, through domestic materiality, the uniqueness of history of Estonian kitchens on one hand, and on the other hand, the dilemmas of modernday consumer culture. All of the kitchen exhibitions were successful among the visitors, but problems also emerged in connection with the collection and display of material culture in museums. The dearth of depositories, disproportionate representation of items in collections and gaps in background information point to the need to organize collection and acquisition efforts and exhibition strategies in a more carefully thought out manner and in closer cooperation between museums.
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Buckland, Theresa Jill. "How the Waltz was Won: Transmutations and the Acquisition of Style in Early English Modern Ballroom Dancing. Part Two: The Waltz Regained." Dance Research 36, no. 2 (November 2018): 138–72. http://dx.doi.org/10.3366/drs.2018.0236.
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Part One of this study on the transmutation of the Victorian waltz into the modern English waltz of the early 1920s examined the labile social and choreographic climate of social dancing in London's fashionable ballrooms before, during and just after World War One. The article ended with the teachers’ unsatisfactory effort to characterise the features of a distinctively modern waltz style in response to a widespread discourse to recover and adapt the dance for the contemporary English ballroom. Part Two investigates the role of club and national competitions and exhibition dancers in changing and stabilising a waltz form and style that integrated preferred aspects of both old and new techniques, as advocated by leading waltz advocate and judge, Philip Richardson. This article brings into critical focus not only choreographic contributions by Victor Silvester and Josephine Bradley but also those of models such as Maurice Mouvet, G. K. Anderson, Georges Fontana, and Marjorie Moss whose direct influence in England outweighed that of the more famous American couple Irene and Vernon Castle. The dance backgrounds, training and inter-connections of these individuals are examined in identifying choreological and aesthetic continuities that relate to prevalent and inter-related notions of style, Englishness, art and modernity as expressed through the dancing. Taken as a whole, the two parts provide a case study of innovative shifts in popular dancing and meaning that are led through imitation and improvisation by practitioners principally from the middle class. The study also contributes to dance scholarship on cultural appropriation through concentrating on an unusual example of competition in dance being used to promote simplicity rather than virtuosity. In conclusion, greater understanding of creativity and transmission in popular social dancing may arise from identifying and interrogating the practice of agents of change and their relationships within and across their choreographic and socio-cultural contexts.
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Moore, Kelli. "Techniques of Abstraction in Black Arts." Meridians 21, no. 2 (October 1, 2022): 413–35. http://dx.doi.org/10.1215/15366936-9882119.
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Abstract This review essay discusses recent exhibitions and accompanying art books published at the threshold of Black philosophy and aesthetics in relation to feminist mourning practices: Nicole Fleetwood’s book and exhibition Marking Time: Art in the Age of Mass Incarceration (2020); Grief and Grievance, an exhibition (2021); a book (2020) conceived by the late Nigerian curator Okwui Enwezor; and Saturation: Race, Art, and the Circulation of Value (2020), edited by C. Riley Snorton and Hentyle Yapp. These books and several others elucidate how relationships between transnational feminism, mourning, and Black works of art speak to Frantz Fanon’s idea of “the leap into existence,” Hortense Spillers’s “dialectics of a global new woman,” and David Marriott’s psycho-political analysis of invention.
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Kordiš, Meta. "The 1980s and Present in Maribor -- Creativity and Déjà Vu." Anthropological Journal of European Cultures 24, no. 2 (September 1, 2015): 55–75. http://dx.doi.org/10.3167/ajec.2015.240205.
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The article discusses the process of setting up an exhibition presenting the fragments of alternative creative practices in 1980s Maribor (Slovenia) in an art museum. Within an interdisciplinary approach – art historical, museological and anthropological, which is in focus here – I try to understand how such a heritage of alternative creative practices is constructed and produced. Furthermore, the question of the anthropological potentiality of exhibition-making as a method for researching certain aspects of urban practices and development is considered. During the exhibition the art museum became a collaborative place for negotiating, mediating and constructing a heritage between an imagined community of (once) alternative individuals and collectives who participated in the exhibition, the museum staff, visitors and the media. The exhibition was echoed in some other events in the city as it also addressed contemporary artistic, cultural and social issues in Maribor.
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Skov, Marie Arleth. "The 1979 American Punk Art dispute: Visions of punk art between sensationalism, street art and social practice." Punk & Post-Punk 9, no. 3 (November 1, 2020): 443–66. http://dx.doi.org/10.1386/punk_00061_1.
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In May 1979, a conflict arose in Amsterdam: the makers of the exhibition American Punk Art clashed with local artists, who disagreed with how the curators portrayed the punk movement in their promotion of the show. The conflict lays open many of the inherent (self-) contradictory aspects of punk art. It was not merely the ubiquitous ‘hard school vs. art school’ punk dispute, but that the Amsterdam punk group responsible for the letter and the Americans preparing the exhibition had different visions of what punk art was or should be in respect to content and agency. Drawing on interviews with the protagonists themselves and research in their private archives, this article compares those visions, considering topics like institutionalism vs. street art, avantgarde history vs. tabloid contemporality and political vs. apolitical stances. The article shows how the involved protagonists from New York and Amsterdam drew on different art historical backgrounds, each rooted in the 1960s: Pop Art, especially Andy Warhol, played a significant role in New York, whereas the signature poetic-social art of CoBrA and the anarchistic activity of the Provos were influential in Amsterdam. The analysis reflects how punk manifested differently in different cultural spheres, but it also points to a common ground, which might be easier to see from today’s distance of more than forty years.
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Waryanti, Dessy Rachma. "KLASIFIKASI PRIORITAS KETERTARIKAN PERILAKU PENGUNJUNG PAMERAN TERHADAP KARYA SENI RUPA KONTEMPORER." INVENSI 1, no. 2 (April 26, 2017): 1–12. http://dx.doi.org/10.24821/invensi.v1i2.1611.
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Many elements are presented to visitors during an exhibition of contemporary art. These elements include the overaching concept of the exhibit (Ko), issues raised in the exhibition (Is), the name of the artist whose popularity attracts patrons (Na), and visual forms of the art itself (Vi). Using these four elements I compiled questions and interviewed patrons with various backgrounds in the arts. The goal was to find out these patron’s interest priorities; in other words, which aspects of the exhibit were of most interest to them as an observer. Previous literature on visitor behavior and social response at contemporary art exhibitions has been used as a base for this research. This study aims to highlight the different interest priorities as a visitor behaviour and audiens reception due to exhibition. I My respondences in this research is the exhibition visitors who had a background in art, but not necessarily in the discipline being exhibited. The results of this study will serve to determine the interest of art exhibition patrons, so that artists and curators can be made more aware of the gaps that exist between exhibit creation and viewer interest, and how those gaps can be better closed.
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O.A., Kostjuchenko, Bolotov G.I., and Birillo I.V. "SPECIAL ASPECTS OF ARCHITECTURAL AND PLANNING ARRANGEMENT OF ART CENTRES IN UKRAINE." International Journal of Engineering Technologies and Management Research 7, no. 2 (March 17, 2020): 103–10. http://dx.doi.org/10.29121/ijetmr.v7.i2.2020.523.
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The authors of the article investigate the special aspects of architectural and planning arrangement of art centres in Ukraine in comparison with the arrangement of art centres in the US, taking into account peculiar cultural, ethnic, and mentality features. The research technique is based on a method of comparative analysis to identify common features and differences and further develop recommendations. It has been established that introvert nature of Ukrainians, which is one of their key features, is the prerequisite for the use of certain techniques in the arrangement of space in art centres and, thus, has an effect on their architectural and planning arrangement. The use of certain subjects, the use of subject boundaries between parts of the exhibition, and other functional areas are one of such techniques. It has been suggested to use scripts of visual practices used, based on the studying of types of interrelations between humans and the outside world and their perception of the architectural space. The conducted research, dedicated to art centres in Ukraine, shows the need to take into account the peculiarities of Ukrainian culture and mentality in the development of architectural and planning arrangement of buildings for the art centres.
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Hornyik, Sándor. "Miklós Erdély, Ernst Bloch, Kurt Gödel, and Hidden Green." ARTMargins 11, no. 1-2 (February 2022): 94–101. http://dx.doi.org/10.1162/artm_a_00316.
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Abstract The introductory text interprets Eszter Bartholy's article about Miklós Erdély's exhibition Hidden Green. Bartholy's article is based on an interview with Erdély, and contain direct and indirect quotes from one of the most significant Hungarian neo-avant-garde artist. The introductory text describes how Erdély's own interpretation of his exhibition Hidden Green is present in Bartholy's article. Bartholy's analysis of Hidden Green sheds light on the way that Erdély combines ars poetica and art theory, while directly reflecting on utopia and on the social function and significance of art. While the text about Hidden Green seems like the interpretation of an exhibition, Bartholy and Erdély, in a virtual dialogue with thinkers including Ernst Bloch, Kurt Gödel, and Allan Kaprow, also make categorical claims about art theory and social theory. The introductory text argues that Erdély's Hidden Green and Bartholy's article connected and confronted–in the spirit of neo-avant-garde montage techniques–Hungarian popular and folk culture, Marxist aesthetic theories of utopias, and the paradoxes of modern natural sciences.
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Neglinskaya, Marina Aleksandrovna. "“Gunpowder painting” of Cai Guo-Qiang: Chinese artistic tradition in the era of postmodernism." Культура и искусство, no. 2 (February 2020): 44–50. http://dx.doi.org/10.7256/2454-0625.2020.2.29690.
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The subject of this research is the art of Cai Guo-Qiang (born in 1957) – the modern Chinese painter who lives and works in China and the United States (New York). The object of this research is the storyline fireworks of Cai and his innovative technique of “gunpowder painting”. The first works of the painter were canvasses in oil painting, and by 1980’s he invented a new “gunpowder” technique, which was first applied in combination with oil on the canvas, and since 1990’s – with ink on the paper, as a version of modern traditional painting guo-hua. His works evolved from social realism to a distinct variation of modern expressionism, as demonstrated the first in Russia retrospective exhibition of the works of Cai Guo-Qiang that took place in the Phuskin State Museum of Fine Arts (“October”, Moscow, 2017). Authors of the exhibition catalogue justifiably note the “cosmopolitan mission” of his art, but leave out of account the traditional context. The proposed methodology, which integrates art and culturological analysis, allows seeing in the works of this prominent modern painter the version of mass art that retains mental and reverse connection with the Chinese tradition. The scientific novelty of the article is defined by the following conclusions: the art of Cai Guo-Qiang is addressed to the international audience, but concords with the traditional paradigm due to Buddhist mentality deeply rooted in the painter’s consciousness. The traditional aspect is his proclivity for harmonization of social environment. This mass art that possesses formal and substantive novelty is associated with the modern international artistic market, as well as market version of “Chinese style” (Chinoiserie) of the XVIII century.
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Leigh, Jadwiga, Lisa Morriss, and Matthew Morriss. "Making visible an invisible trade: Exploring the everyday experiences of doing social work and being a social worker." Qualitative Social Work 19, no. 2 (January 19, 2019): 267–83. http://dx.doi.org/10.1177/1473325018824629.
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This article demonstrates that making art in conjunction with story-telling is a method which can elucidate the everyday working practices of social work practitioners. To date, the relationship between art and social workers has rarely been noted, in part because visual studies have not attended to the lived experiences of social workers. In this paper, we draw on an empirical study undertaken in England which invited social workers to use art to tell their stories of being a social worker and doing social work. Their artefacts produced powerful visual and aural accounts of practice. They were displayed at the People’s History Museum, Manchester, in the first social work exhibition of this kind, making visible to members of the public the hidden, lesser known and understood aspects of practice. In this paper, we demonstrate how particular social work structures can rupture relationships between social workers and the families they work with. In doing so, we build on the sociology of art, work and interaction by showing how visual narratives can challenge, and sometimes alter, previously held assumptions and beliefs.
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HingTing, Karine Lan, and Ines Di Loreto. "A Participatory Design Approach with Visually Impaired People for the Design of an Art Exhibition." International Journal of Sociotechnology and Knowledge Development 9, no. 4 (October 2017): 43–57. http://dx.doi.org/10.4018/ijskd.2017100104.
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This article describes the participatory design (PD) approach adopted in systematically involving visually impaired people in the design of an art exhibition adapted to their needs. This exhibition will be the outcome of a publicly-funded research project aimed at making visual art accessible to everyone: specifically (but not exclusively) to visually impaired people, in an objective of social inclusion. This article presents the research done to elicit, capture, and analyse the needs of visually impaired people who are the active actors of this research. The aim of the article is to trigger discussion about both the necessity and difficulty of elaborating relevant techniques in this empirical and open-ended approach, and what is meant by participation in this particular setting.
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Sbrilli, Antonella. "24 Hours in Contemporary Art: Reflections on an Exhibition About Time." KronoScope 17, no. 2 (September 6, 2017): 209–30. http://dx.doi.org/10.1163/15685241-12341384.
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Abstract Time and its representation have been historically fascinating, as Books of Hours, allegories, and artistic calendars testify. This attention to time has become increasingly more urgent recently, as studies confirm. The exhibition Dall’oggi al domani (From Today till Tomorrow), held in Rome in 2016, focused on the discrete single day, with its date and its 24- hour rhythm. The article addresses the main aspects of that exhibition, its historical background, the conceptual attraction for calendars’ grids, the interest of artists in the everyday, the processing of daily digital traces, time-lapse, and 24/7 formats. Artworks were displayed according to their affinity towards time rhythms, time words, dates, calendars, and diaries. Although the itinerary of the show was not chronological, some historical clusters emerged: for example, the importance of the pivotal year 1966 in time consideration.
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Vladimir, Zheleznyak. "Art and Folk Things: Based on Vladimir Arkhipov's Exhibition at the Permm Museum." TECHNOLOGOS, no. 3 (2022): 53–62. http://dx.doi.org/10.15593/perm.kipf/2022.3.05.
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The article is devoted to the philosophical and aesthetic analysis of the materials presented at the exhibition of V. Arkhipov “Objects of Pride and Shame” in Perm in 2021. First of all, it was necessary to establish as strictly as possible the boundaries of the phenomenon that Arkhipov discovered and embodied in his famous collection of characteristic self-made objects ("contraptions"). Then it was important to explain under what conditions and under what circumstances could these objects be transformed into an art object or if they were originally such. Following the example of V. Podoroga, we also consider Arkhipov's collection as an opportunity for broader philosophical generalizations on the theme of art and things. The result of our analysis may be summarized as follows. First, the handicrafts in Arkhipov's collection emerge at the intersection of various kinds of praxis and are deeply integrated into the system of anthropological preconditions and conditions of human activity; this explains the fluidity of the boundaries of Arkhipov's phenomena (from technical amateurism to exotic kunststuekes). Secondly, the world of handicrafts discovered by Arkhipov undoubtedly bears the traces of social influences (from the squalor of poverty to respectable upcycling). The article shows the relative and local nature of all aspects of "social grief" and "social happiness" in Arkhipov's phenomena, for their nature is much broader. As abstract as Sartre's term "lack of being" sounds with regard to Arkhipov's things, it can be used to show that the "things" represent rather an experience of making up for being in a situation of its lack. Third, the text presented reveals various aspects of the author's impartiality in relation to the things he creates. The property of the artist's non-involvement ("transgendence") in relation to the hyletic composition of his actions is, in our opinion, the initial, "ontological", condition and source of the artistic work. Arkhipov's pieces are, for the most part, deeply ironic in relation to "normal," "signature" things. Their fate from the beginning to the end is determined by their creator, they are pro-products of their creators. And finally, fourth, we consider it fundamental to look at the world from the perspective of, in a certain sense, the absolute factuality of the things that fill it. Everything else is drowning in the infinite perspective of the possible.
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Šuľová, Michaela. "Art Therapy in Social Work with Mentally ill People in Slovakia." Roczniki Teologiczne 66, no. 1 (July 27, 2019): 75–87. http://dx.doi.org/10.18290/rt.2019.66.1-5.
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The paper introduces the situation of mental health in Slovakia, as well as social services that focus on helping mentally ill people. Further it presents organizations offering art therapy education. It also describes the specific aspects of art therapy with mentally ill people as well as specific art therapy techniques focused on mentally ill people.
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Maurício, Jani. "The Parallel Circulation of Portuguese Modern Art during Salazar's Dictatorship (1956–61)." Cultural History 5, no. 1 (April 2016): 51–80. http://dx.doi.org/10.3366/cult.2016.0109.
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Researching the subject of art's distribution under the New State dictatorship of the 1950s, this article focuses on the practices developed by two informal organizations of artists that carried out innovatory activities of modern art's socialization, which resulted in the creation of a parallel distribution system. Through an approach centred in the social and cultural aspects of the parallel distribution, the phenomenon's interpretation emphasizes the facilitating role of social relations and ethical values. Considering the exhibition and discursive practices developed by the artists’ collectives, this study defends that the existence of shared values and solidarity relationships, established within and outside the artistic sector, were deciding factors for the emergence and maintenance of a participatory behaviour attached to an important faction of the modern artistic sector.
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Jones, Rhys Bevan, Julia Thomas, Jamie Lewis, Simon Read, and Ian Jones. "Translation: From Bench to Brain – Using the visual arts and metaphors to engage and educate." Research for All 1, no. 2 (July 15, 2017): 265–83. http://dx.doi.org/10.18546/rfa.01.2.04.
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This article examines multidisciplinary public engagement projects that bring together developments in psychiatric research and practice with visual art and its use of metaphor. The article focuses on the art exhibition Translation: From Bench to Brain , which was the basis for further collaborations, illustrating how the learning from the original event influenced subsequent projects. Combining art exhibitions with online documentation and resources, the projects explored not only medical and scientific themes, but also the wider social, cultural and ethical ramifications, specifically aspects of identity, risk and stigma. The activities demonstrate the value of a developmental approach to public engagement as a process, whereby projects build on previous activities and evolving multidisciplinary perspectives, networks and expertise.
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Vella, Raphael. "Curating as a dialogue-based strategy in art education." International Journal of Education Through Art 14, no. 3 (September 1, 2018): 293–303. http://dx.doi.org/10.1386/eta.14.3.293_1.
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Contemporary artists are increasingly engaging in curatorial work and strategies while curators interpret the exhibition as an artistic medium in its own right. The teaching of art in schools and art education programmes in universities, however, does not often integrate curating as an activity or field of study within more conventional studio classes or methodologies for teaching and learning art. After briefly outlining a history of key artist-curators, this article suggests that curating – particularly its collaborative, social qualities – can enrich art pedagogies and curricula, and proposes four curatorial processes that could positively expand the remit of art education. These processes are understood as integral aspects of art-making and focus on the development of a pedagogy of dialogue, creating dialogues between different artworks and objects, dialogues between curatorial positions, dialogues between works of art and various publics, and finally, facilitating the etymological notion of ‘care’ within the art class.
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Bao, Weihong. "Archaeology of a Medium: The (Agri)Cultural Techniques of a Paddy Film Farm." boundary 2 49, no. 1 (February 1, 2022): 25–69. http://dx.doi.org/10.1215/01903659-9615389.
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This essay explores a critical dialogue between methods and conceptions of cultural techniques—the second wave of media archaeology—and a case in contemporary Chinese documentary. I examine filmmaker Mao Chenyu, who is also an organic farmer, a critical thinker and writer, and a film exhibitor. Mao provides an intriguing case of how ethnography, ecology, and cosmology intertwine; how media art can take the form of media activism by redefining its boundaries and exhibition space; and how media art can be rethought by replacing its usual focus on media as object with a focus on media as space, community, and social process. By engaging Mao's film practice and critical writings, I test the promise and limits of cultural techniques to reopen the question of culture and public sphere without privileging the a priori of technical operations as the programmability of society.
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Kiseleva, Marina, and Anatolii Kiselev. "Social and psychological aspects of environment-based health risk assessment." Vestnik of Saint Petersburg University. Medicine 15, no. 2 (2020): 142–52. http://dx.doi.org/10.21638/spbu11.2020.206.
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The authors are mainly focused on special features of using art-therapeutic techniques to facilitate adaptation of several categories of the population to the information about environment- based health risks. They consider the methodological issues of presenting the ideas about health risks within the medical ecological content, of informing about those risks, since the lack of attention to those issues leads to additional anxiety in the population, as well as methods of correction of the latter through art-therapy methods developed by the authors. A psychological support program is suggested, which consists of three stages: diagnostic, psychological correction, psychological and social support. The first stage suggests psychological diagnostics, which include methods that allow for psychological and emotional background assessment. Based on the results of the diagnostics and social data, a complex assessment is made about the main problems of a person and a decision is made about the participation in psychological correction, which consists of individual and groups sessions. The second stage is aimed at the correction of negative emotions and feelings, as well as reaching solutions that are more complex. Art-therapy is suggested as the main psychosocial correction method, the use of which can create safe art-therapeutic environment, where the main means of interaction is a constructive dialogue, based on creating and examining an art product of a client, ‘clientart product-psychologist’, where the client feels protected enough to express their feelings. At the third stage, the clients continue to work with the psychologist as part of the psychological social support, the essence of which is given in this article as well.
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O'Hear, Anthony. "Art and Technology: An Old Tension." Royal Institute of Philosophy Supplement 38 (March 1995): 143–58. http://dx.doi.org/10.1017/s1358246100007335.
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This is not the first time the title ‘Art and Technology’ has been used, but to distinguish what I have to say from Walter Gropius's Bauhaus exhibition of 1923, I am subtitling my paper ‘an old tension’, where the architect spoke of ‘a new unity’. In a way, Gropius has been proved right; the structures of the future avoiding all romantic embellishment and whimsy, the cathedrals of socialism, the corporate planning of comprehensive Utopian designs have all gone up and some come down. We have a mass media culture also largely made possible by technology. Corporatist architecture, whether statist ‘social housing’ or freemarket inspired, films, videos, modern recording and musical techniques are all due to technological advances made mostly this century. Only in a very puritanical sense could what has happened be thought of as inevitably bringing with it enslavement. All kinds of possibilities are now open to artists and architects, which would have been imaginable a few decades ago. No one is forced to use these possibilities in any specific way.
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Stokes, Sally Sims. "Patterns of the Fair: Demorest's monthly magazine, the Centennial Exhibition of 1876 and analysis of fashion advertising art." Art Libraries Journal 42, no. 1 (December 15, 2016): 26–34. http://dx.doi.org/10.1017/alj.2016.41.
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Fashion magazines contain hidden delights ripe for investigating. One can explore overt content and covert messages in fashion magazine advertising art by probing the periodical and its promotional images for historical or social clues and for the advertiser's manipulative methods. Art librarians can apply and encourage the use of analytical techniques in connection with fashion advertising art from any era or region of the world. The focus here is on a single firm, the Demorest Fashion and Sewing-Machine Company, best known for its paper sewing patterns, and how in a single volume of its monthly magazine it promoted the purchase of fashion goods in connection with a world's fair: the 1876 Centennial Exhibition in Philadelphia. Comparing a 19th-century fashion engraving with a related photograph; and viewing a magazine advertisement as a set of repeating patterns according to a 21st-century process, fractal-concept analysis, together yield a trove of information and prompt further ideas for alternate and peripheral lines of inquiry.
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Neff, Michael, Dawn Y. Sumner, Gerald W. Bawden, Ellen Bromberg, Della Davidson, Shelly Gilbride, Louise H. Kellogg, and Oliver Kreylos. "Blending Art and Science to Create Collapse (suddenly falling down)." Leonardo 43, no. 2 (April 2010): 204. http://dx.doi.org/10.1162/leon.2010.43.2.204.
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Understanding the collapse of natural and social systems is a key artistic and scientific endeavor. By collaborating on a multimedia dance-theatre production, we contributed individual approaches, techniques, and insights to a performance that captured both cultural and scientific aspects of collapse in an aesthetically meaningful way.
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Good, Michael. "User Interface Consistency in the DECwindows Program." Proceedings of the Human Factors Society Annual Meeting 32, no. 5 (October 1988): 259–63. http://dx.doi.org/10.1177/154193128803200502.
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A major goal of the DECwindows program is to provide a consistent, state-of-the-art user interface for workstation software.1 This interface extends across operating systems and many different types of application programs. Within the DECwindows program we have addressed both the technical and organizational aspects of developing consistent user interfaces across applications. Traditional methods for developing user interface consistency, such as the use of an interface style guide and toolkit, were supplemented with more innovative techniques. An exhibition and catalog of DECwindows application designs helped to develop a DECwindows school of interface design. Electronic conferencing software played an important role in facilitating communication among DECwindows contributors throughout the company. Preliminary user interviews suggest that the DECwindows interface style gives a consistent, usable feel to Digital's workstation applications.
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Catravas, P., K. Bubriski, M. D. Frey, M. E. Hagerman, B. Cohen, J. J. McGee, and S. S. Bowser. "NanoGrande: Electron Microscopy Education and Outreach Through a Collaboration of Scientists and Artists." Microscopy Today 21, no. 2 (March 2013): 42–46. http://dx.doi.org/10.1017/s1551929513000023.
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NanoGrande is the culmination of an art-science effort that brought undergraduate students and faculty from science, engineering, and the visual arts together with professional microscopists of the Capital District Microscopy and Microanalysis Society for electron microscopy education and outreach. Students from two independent undergraduate courses, an advanced photography course and a microscopy laboratory course, collaborated on the project. The participants represented a wide range of majors, including chemistry, biology, electrical engineering, computer engineering, mechanical engineering, bioengineering, psychology, neuroscience, sociology/social sciences, history, and the visual arts. Emphasis was placed on both the scientific and the artistic aspects of the imaging process. The creation of electron microscopy images that were at the same time scientifically meaningful and visually compelling depended critically on communication of insights and ideas between paired students. The collaboration generated an art-science exhibition, NanoGrande, that has been presented to over four-thousand K through 12 students.
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Lopes, António M., and J. A. Tenreiro Machado. "Complexity Analysis of Escher’s Art." Entropy 21, no. 6 (May 31, 2019): 553. http://dx.doi.org/10.3390/e21060553.
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Art is the output of a complex system based on the human spirit and driven by several inputs that embed social, cultural, economic and technological aspects of a given epoch. A solid quantitative analysis of art poses considerable difficulties and reaching assertive conclusions is a formidable challenge. In this paper, we adopt complexity indices, dimensionality-reduction and visualization techniques for studying the evolution of Escher’s art. Grayscale versions of 457 artworks are analyzed by means of complexity indices and represented using the multidimensional scaling technique. The results are correlated with the distinct periods of Escher’s artistic production. The time evolution of the complexity and the emergent patterns demonstrate the effectiveness of the approach for a quantitative characterization of art.
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Wang, Siyi. "Museum as a Sensory Space: A Discussion of Communication Effect of Multi-Senses in Taizhou Museum." Sustainability 12, no. 7 (April 10, 2020): 3061. http://dx.doi.org/10.3390/su12073061.
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Museums are much more than repositories of cultural relics to be preserved for the future. They are centers of learning, community centers, social hubs—even places of healing and contemplation. The museum experience is a multilayered journey that is proprioceptive, sensory, aesthetic and social. In this context, this study takes the case of the ‘People at the Seashore’ multisensory area in the folk exhibition of Taizhou Museum, applies three data collection techniques (questionnaire, in-depth interview and observation) to assess various types of experiences (object, cognitive, social and introspective) and effects (visceral, cognitive and emotional) in the museum, and analyzes the practical effect and relative merits of the multisensory approaches used in this exhibition through the lens of communication effect. Accordingly, multi-senses acquire creative significances upon the attractive and holding power of museum exhibitions, specifically the emotional relevance and resonances. Thus, museums should be more concerned with the connection and complex interaction between senses and experience, meanwhile be active with visual, auditory, olfactory, taste and proprioceptive experiences and engage in the potential impact on visitors from cognitive and emotional aspects, which is an important trend for the museum’s future development and also the vision of this study.
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Melbārde, Aija, Auguste Petre, and Zane Grigoroviča. "VISUAL INSIGHTS INTO GRAFFITI AND STREET ART IN RIGA. PHOTOGRAPHS." Culture Crossroads 13 (November 9, 2022): 9–18. http://dx.doi.org/10.55877/cc.vol13.110.
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Graffiti and street art are continuously topical for the cultural space of Latvia. Graffiti and street art are created, exist and vanish in a short period of time, questioning borders of art, its social function, as well as legality. Till now, an unexplored field of study in Latvia has been the necessity and possibilities for the conservation and restoration of graffiti and street art. Photographs taken by Aija Melbārde and Auguste Petre serve as an example of documenting and exposing signs of our time. They also raise questions for reflection – What is the significance of graffiti and street art within the scene of contemporary art? What are the functions of graffiti and street art in society, as social art? What are the aspects of legality of graffiti and street art? What are the issues for conservation and restoration of graffiti and street art? These photographs invite and challenge the audience interested in cultural and artistic expressions and general public to question the valuation and preservation of contemporary cultural heritage. Through exposing graffiti and street art as a significant segment of urban environment, this selection of photographs invites to consider the use of graffiti and street art for diverse purposes – for publicity and attracting tourism, or as a means of communication in urban culture, among other. The present selection of photographs is based on the exhibition that took place at the “Culture Crossroads 2017” scholarly conference in Riga and complemented the transdisciplinary section “Graffiti: challenges for artists, society, and conservators”. For locating visual testimonies of graffiti and street art in Riga, the Street Art Map of Riga is presented as addendum to the present volume.
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Leśniak, Kamila. "The Family of Man in Poland: An Exhibition as a Democratic Space?" Ikonotheka 26 (June 26, 2017): 213–38. http://dx.doi.org/10.5604/01.3001.0010.1679.
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The exhibition entitled The Family of Man, which was designed by Edward Steichen and presented for the fi rst time in 1955 at the Museum of Modern Art in New York, belongs to the most famous and most controversial photographic expositions of the 20th century. Usually perceived in the light of the anachronistic, West-centric vision of humanism, i.e. as an embodiment of Modernist views on photography, it constitutes a good example of the museum’s infl uence as a Modernist “social instrument”. However, contemporary theories in exhibition studies offer a more complex interpretation. The present work provides insight into this process by referring to the views of Mieke Bal (on the “cinematic effect” of photographic exhibitions, the narrative and relational aspect of expositions), Fred Turner (on the space of an avant-garde exhibition as the realisation of the political and social idea of a “democratic personality”) and Ariella Azoulay (on exhibition space as a “visual declaration of human rights” and the fi eld for a “photographic social contract”). The primary aim of the present article is to set The Family of Man within the framework of Polish exhibition practices. The complex origins of the American project can be traced back to avant-garde experiments with exhibition space conducted in the Bauhaus movement and in Soviet Constructivism (the psychology of perception, “photo-murals”); the analysis focuses on the political and propagandistic aspects. An analysis of the above issues provides the starting point for considering the signifi cance and probable reception of the exhibition’s spatial arrangement in the milieu of Polish architects and designers as well as its Polish variant as prepared by Stanisław Zamecznik and Wojciech Fangor. It was therefore useful to refer to Oskar Hansen and his theory of Open Form, as he cooperated with Zamecznik and Fangor at the time. Models of avant-garde and Modernist “utopian thinking” are juxtaposed, thus making it possible to perceive the process of reception in the light of its effectiveness. The article also discusses The Family of Man as a model for projects with propaganda undertones, i.e. the so-called “problem-oriented exhibitions”. It mentions attempts at adapting Steichen’s design of exhibition space to the needs of the offi cial narrative in the People’s Republic of Poland. Finally, it uncovers the ambivalent nature of the infl uence of The Family of Man and the dual status of the exhibition as both a propagandistic project and as an anti-systemic space supporting the ideal of a creative, free individual.
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Kartseva, E. A., and A. I. Shutova. "How the potential audience of museums perceives art: results of a segmentation study of aesthetic preferences." Voprosy kul'turologii (Issues of Cultural Studies), no. 6 (May 20, 2021): 524–40. http://dx.doi.org/10.33920/nik-01-2106-06.
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The increase, diversification and complexity of the museum audience in recent years has become the reason for the development of deeper and more targeted approaches to its study based on interdisciplinary research. The article analyzes the aesthetic preferences of the potential audience of exhibition projects according to the results of sociological segmentation based on a quantitative survey conducted in January 2020 on the mail.ru platform on the social network in VKontakte (audience coverage 73.4 million in 2020) with a sample of 1905 people. The filling of the questionnaire and data analysis were carried out by the authors using an art history approach, and the research methodology and statistical data analysis were prepared on the basis of sociological and marketing approaches. The assimilation of sociology and marketing tools by cultural institutions is interpreted by the authors optimistically, as an opportunity to oppose the negative aspects of the commercialization of art, to form a community of active supporters of cultural institutions, increase knowledge about their preferences, increase efficiency and reduce costs for promoting exhibition projects. The study also resulted in recommendations for marketing and PR promotion of exhibitions for a more accurate audience coverage and better satisfaction of the aesthetic needs of visitors. Accompanying information in the form of leaflets, audio guides, visuals should be offered in the format preferred by the largest segment of the audience. Curators can refer to research results and shape the exposition, taking them into account, but without losing professional quality. Data analysis was carried out using the methodologist of the Foreitor research company, Yu.R. Wolfson.
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Patsiaouras, Georgios, Anastasia Veneti, and William Green. "Marketing, art and voices of dissent." Marketing Theory 18, no. 1 (August 14, 2017): 75–100. http://dx.doi.org/10.1177/1470593117724609.
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Limited research exists around the interrelationships between protest camps and marketing practices. In this article, we focus on the 2014 Hong Kong protest camps as a context where artistic work was innovatively developed and imaginatively promoted to draw global attention. Collecting and analysing empirical data from the Umbrella Movement, our findings explore the interrelationships between arts marketing technologies and the creativity and artistic expression of the protest camps so as to inform, update and rethink arts marketing theory itself. We discuss how protesters used public space to employ inventive methods of audience engagement, participation and co-creation of artwork, together with media art projects which aimed not only to promote their collective aims but also to educate and inform citizens. While some studies have already examined the function of arts marketing beyond traditional and established artistic institutions, our findings offer novel insights into the promotional techniques of protest art within the occupied space of a social movement. Finally, we suggest avenues for future research around the artwork of social movements that could highlight creative and political aspects of (arts) marketing theory.
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Shesteric, Olga V. "The Problem of Adaptation of Utopias in Russian Cinema." Journal of Flm Arts and Film Studies 9, no. 2 (June 15, 2017): 70–79. http://dx.doi.org/10.17816/vgik9270-79.
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The article is devoted to the specifics of literary utopia adaptation in Russian cinema. The social and art factors which had an impact on the genre evolution are analysed. Special emphasis is given to dramatic aspects. tte use of dedramatization techniques allows to reveal the content and functions of the utopia genre in cinema.
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Vogelsang, Helena. "A Nostalgic Longing for the 20th Century: Past and Present Backdrops and Scenes in the Skylight Studio of Josip Pelikan." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 56–61. http://dx.doi.org/10.47659/m5.056.art.
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Taking a visual stroll down the backdrops and sceneries of the master photographer Josip Pelikan is accompanied by commentary supplied by the Celje Museum of Recent History’s senior educator and carer of Pelikan’s collection, Helena Vogelsang. Painted backgrounds with various motifs used by Pelikan in both portraying and in his everyday work in the studio represent a key part of the photographer’s heritage and are part of a permanent exhibition in a skylight studio. It is the only preserved example of a skylight photo studio from the end of the 19th century in Slovenia. Various backdrops enabled the portrayed person to be presented in a way that suited him or her best; e.g. raising their social status, being placed in a specific environment or in a different position than the person occupied in real life. This surely influenced the popularity of portraits made in the wet collodion technique by contemporary photographer Borut Peterlin. In this way, the photographer revitalised the importance of Pelikan’s backgrounds and renewed the interest in old analogue photography techniques as well as a comprehensive studio portrait experience, which today no longer holds a prominent place among photographic practices. Keywords: 20th century photograhy, background, Josip Pelikan, photographic backdrop, portraiture, skylight studio, Slovenian photography, studio photography
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Jaya, Rachman, Yusriana Yusriana, and Rizki Ardiansyah. "SISTEM PRODUKSI DAN PENGOLAHAN KOPI BERKELANJUTAN: STATE OF THE ART." JURNAL AGROTEKNOLOGI 13, no. 02 (January 31, 2020): 171. http://dx.doi.org/10.19184/j-agt.v13i02.14651.
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Last 10 years, more than 50 papers and handbooks have been published on the topic of sustainable production and processing in the coffee commodity. Review process is used by desk study based on several scientific journals which are related to the topic. It was found by scientific publisher webs such as Scopus, Ebsco, Academia.edu, Researchgate, Portal Garuda, DOAJ and Google Scholar. Technically, sustainability was discussed at least 3 aspects, i.e. economic, social and ecology. In global growth, particularly a coffee commodity has been disturbing production which was caused by global warming, fair-trade and social conflict. On the other hand, dynamically there has been increasing of demand (export and local) due to lifestyle. Based on the fact, the realistic solution is needed on these matters. This study has done several articles reviewed and synthesized. The systematic of it’s through content analysis on that article and then clustered by a topic which assessed. The realistic solution complied based on economic, social and ecology aspects in a sustainable production and processing. Finally, we suggest several new techniques and products (downstream) which could be developed to reach the sustainability and processing of the coffee, especially cold-brew for new coffee product.Keywords: coffee, processing, state of the art, sustainable production
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Sitompul, Theresia Agustina. "PEMBUATAN VIDEO TUTORIAL APLIKASI TEKNIK-TEKNIK SENI GRAFIS PADA PENCIPTAAN KARYA UNTUK ANAK SEKOLAH DASAR SELAMA MASA PANDEMI COVID 19." Acintya : Jurnal Penelitian Seni Budaya 13, no. 2 (March 16, 2022): 191–203. http://dx.doi.org/10.33153/acy.v13i2.4144.
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The research with the title Making Video Tutorials for Application of Graphic Art Techniques in Creating Artwork for Elementary School Children During the Covid 19 Pandemic is intended as a response to the situation and conditions in Indonesia which is experiencing the Covid 19 pandemic. To stop the potential spread of Covid 19, the government makes a policy teaching and learning activities are diverted at home. Through this research, the authors want to contribute by making video tutorials on the application of various techniques in graphic arts in the creation of works for elementary school children that can be practiced at home. Graphic art has a wealth of techniques that can be applied in the creation of works for elementary school children. In this study, the authors will focus on relief techniques and stencil techniques. Selected video tutorials for creators as media to be easy to understand, practical, interactive and in line with government regulations during the Covid 19 pandemic to carry out social restrictions and physical distancing. With video tutorials, creators can share the technique of creating this work with more people using social media (via youtube or whatsapp). The artist hopes that with art activities, children can be more comfortable and at home with activities at home because in the activity of creating works of art there are aspects to express pent-up feelings and thoughts. Through art activities, children can communicate what is in their minds and the world around them. Art is believed to have a cathartic function so that it can release tension and pressure while studying at home during the Covid 19 pandemic.Keywords: covid 19 pandemic, graphic art techniques, elementary school children, video tutorials
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Cossu, Alberto. "Beyond Social Media Determinism? How Artists Reshape the Organization of Social Movements." Social Media + Society 4, no. 1 (January 2018): 205630511775071. http://dx.doi.org/10.1177/2056305117750717.
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Artists and creative workers are engaged once more in the social and political space. In the current wave, which started in the early 2010s, they have taken part in broad social movements (e.g., Occupy, Tahrir Square), created movements of their own (e.g., Network of Occupied Theaters in Italy and Greece), experimented with alternative economic models and currencies (e.g., Macao and D-CENT), carried out social research and radical education, partnered with institutional and social actors, supported neighborhoods, filled the void left by states’ retreat from the social, and hosted and co-produced art at a time when the budget for culture and independent art is being decreased in numerous countries across the world. This article aims to investigate the organizational and relational aspects of artistic social movements. Drawing on a 2-year-long ethnographic study conducted for my PhD dissertation and deploying a number of research techniques, including participant observation, digital methods, and semi-structured interviews, I propose a new understanding of the meaning of organization in contemporary artistic social movements. My article, focusing especially on data gathered on Macao, “The New Centre for Arts, Culture and Research of Milan,” constitutes an attempt to reflect on emerging organizational models in social movements.
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Ochoa, Rita. "The “Expo” and the Post-“Expo”: The Role of Public Art in Urban Regeneration Processes in the Late 20th Century." Sustainability 14, no. 2 (January 16, 2022): 985. http://dx.doi.org/10.3390/su14020985.
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In 1998, the Lisbon Universal Exhibition—Expo’98—led to an urban regeneration process on Lisbon’s waterfront. Following the example of other cities, this event was a pretext for rethinking and replacing a depressed area and for reconnecting it with the Tagus river through the creation of a set of new spaces for common use along the water. It was promoted as a public art program, which can be considered quite innovative in the Portuguese context. In view of this framework, this article aims to debate the relationships between public art and the dynamics of urban regeneration at the end of the 20th century. For that, it will analyse: (1) Expo’98’s public art program, comparing its initial assumptions with the final results; and (2) the impact of this program, through the identification of the placement of public art before (1974–1998) and after (1999–2009) the event. Although most of the implemented works did not (intentionally) explore aspects of space integration nor issues of public space appropriation, Expo’98’s public art program originated a monumentalisation of Lisbon’s eastern riverfront, later extended to other waterfront areas. At the same time, it played an important role in the way of understanding the city and public space that decisively influenced subsequent policies and projects. It is concluded that public art had a significant role in urban processes in the late 20th century, which is quite evident in a discourse of urban art as space qualifier and as a means of economic and social development.
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Sharma, Yam Prasad. "Contemporary Nepali Arts: Some Shocking Trends." Journal of Fine Arts Campus 3, no. 1 (December 31, 2021): 1–5. http://dx.doi.org/10.3126/jfac.v3i1.42488.
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In contemporary Nepali arts, there are some trends that shock any sensible viewer or any informed person in the area. Some artists repeat the same subject matter, figure and technique throughout their life or from the beginning of their profession till now. The presentation of the same thing all the time creates monotony and nausea in the viewers. The question arises: how can an artist do the same thing all the time? Some artists see the works of famous western artists in art history books, art magazines and the world wide web, and they copy their subject matters and techniques thinking that they can create works and be famous. Some artists randomly splash and pour colors on the canvas and say that the mess and confusion in the canvas is abstract art. They opine that nobody can understand abstract art. They are fooling the viewers. Some artists call themselves modern Nepali artists, for they have practiced modern techniques of western arts. Some artists print the photograph on the canvas, make the photograph rough using paints and call it their paintings thinking that the viewers will be fooled. Some artists do realistic paintings with sweats and tireless efforts to earn their livelihood but when it comes to the exhibition of artworks, they make abstract paintings in few minutes. We can find such naïve and shocking trends in some senior artists as well, and young artists following their footprints. As a result, a substantial portion of Nepali art has already entered the whirlpool presenting its non-existent situation which demands immediate rescue from real artists and intellectuals. The scenario of art can be an analogy of the social and political situation of Nepal. We talk about great revolutions, changes and achievements but the situation of people is getting worse and civilization has been degenerated.
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Ariesa Pandanwangi, Belinda Sukapura Dewi, and Shopia Himatul Alya. "NARASI VISUAL CERITA FABEL DALAM KARYA SENI LUKIS." Jurnal Budaya Nusantara 3, no. 2 (July 20, 2020): 135–42. http://dx.doi.org/10.36456/b.nusantara.vol3.no2.a2545.
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Bandung is one of the creative cities in Java, especially West Java. Proven Bandung has a lot of local wisdom dug up from legendary stories, animal fable stories, culinary riches, and many more which later became interesting ideas into the concept of creating art. This local wealth is an important claim by artists who actively work. This research will reveal the expression of artists in paintings. They express their expression by bringing up the fable story of the archipelago. Archipelago fable story is processed, dug up and used as a source of inspiration to create works of art. The problems in this study are (1) What is the concept of a painting that was conceived from the fable story of the archipelago. (2) What is the visualization of the archipelago fable painting created by female artists ?. This research method is descriptive qualitative by examining the aesthetic aspects which include elements of the object, composition, color, harmonization. The media used in this painting is fabric. Samples of paintings, taken from works created by women from an exhibition held in Bandung. The coloring process with the colet technique. The color used is the dye for the fabric. The findings in the research are the concept of the work carried by artists visualizing animal stories that can be used as good moral examples. This exhibition is important because in addition to visual narration there is also a message delivered to the public. Whereas visually, many female artists use realistic objects, center composition, contrasting and attractive colors. The results of this study the concept of fable stories are brought back into an attractive visual narrative with colors that are presented in contrast with many techniques in coloring.
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A. M. Lutfi, Dina. "Challenging Perceptions of Modern Arab Art." Contemporary Review of the Middle East 7, no. 3 (May 11, 2020): 286–300. http://dx.doi.org/10.1177/2347798920921708.
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The understanding of modern Arab art is, more often than not, based on individual and collective perceptions that relate to beliefs, culture, and social constructs. Defining qualities or characteristics that make a work of art “Arab” is not a clear-cut endeavor. Many Arab artists appropriated Western techniques, while they strived to combine their newly acquired artistic processes with content inherent in their respective cultures. Some audiences appreciated the new direction the Arab art was taking; however, many artists were harshly criticized of advocating cultural colonialism. A struggle in the field of art, and in other aspects of life took place, due to the increasing fear of losing one’s own tradition and Arab identity in the face of Western culture. This article explores the nature of modern Arab art and Arab identity, its place within a global modernism, and the ways in which Western influences have shaped its development, in addition to understanding the different particularities that have shaped Arab modernism in art specifically.
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Kristiyono, Jokhanan, Rachmah Ida, and Musta'in Mashud. "Counter-hegemony of the East Java Biennale art community against the domination of hoax content reproduction." Masyarakat, Kebudayaan dan Politik 33, no. 1 (April 1, 2020): 26. http://dx.doi.org/10.20473/mkp.v33i12020.26-35.
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This research analyses and describes in detail how the digital biennale activities that are a part of the Indonesian Digital art community has become a form of criticism and silent resistance to the social hegemony. It refers to the ideology, norms, rules, and myths that exist in modern society in Indonesia, especially the reproduction of hoax content. Hoax refers to the logic people who live in a world of cyber media with all of its social implications. This phenomenon is a problem, and it is at the heart of the exploration of the art community in East Java Biennale. The critical social theory perspective of Gramsci’s theory forms the basis of this research analysis. The qualitative research approach used a digital ethnomethodology research method focused on the online and offline social movements in the Biennale Art Community. The data collection techniques used were observation and non-active participation in the process of reproduction-related to the exhibition of Indonesian Biennale digital artworks. It was then analyzed using Gramsci’s hegemony theory. The purpose of this study was to describe the process of social movements in a digital format conducted by the Indonesian Biennale when reproducing works of art to counteract the dominance and hegemony of the Hoax phenomenon in Indonesia. The benefit of this research was that it obtained a preposition of Gramsci’s hegemony theory in the world of digital art as created by contemporary Indonesian Biennale artists. Digital technology has had a tremendous effect on the media industry, government, trade, informal industry sector, human resources, urban planning, services, disaster relief, health, education, religion, artistic and cultural expression, in addition to various other fields. The conclusion obtained from this research is that there is a formation of a new hegemony, a digital hegemony. This new hegemony is of particular concern for the digital artists in East Java Biennale. Through the digital format works, the artists also try to communicate their art as a form of silent resistance, protest, and criticism of the hegemony that occurs in society, referring to the ideology, norms, and myths. It can be called a digital counter-hegemony.s
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Averianova, Nina. "ART THERAPY AS A METHOD OF REHABILITATION OF MILITARY OPERATIONS' PARTICIPANTS UNDER CONDITIONS OF THE RUSSIAN-UKRAINIAN ARMED CONFLICT." Almanac of Ukrainian Studies, no. 26 (2020): 8–12. http://dx.doi.org/10.17721/2520-2626/2020.26.1.
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It is shown that participation in hostilities affects a person's psychological state. Being in a combat zone can dramatically change the personality and often - negatively. Mental injuries received during combat operations lead to a number of complex disorders in the physical and emotional spheres of man. This leads to various conflict situations in society. The destructive effects of war are manifested not only in physical losses, but also in social disorientation, loss of social contacts, the integrity of the "I" and theс personal identity of both servicemen and civilians. The consequences of combat mental trauma in various manifestations can be seen even after many years. Without proper psychological rehabilitation, it is difficult for such people to return to a peaceful life and to their social role in society. Therefore, art therapy can come to the rescue here, which in a set of rehabilitation measures can relieve a person of negative feelings, encourage him and help build new life patterns. It is indicated that art therapy was formed as a specific activity that includes art, psychology and psychotherapy. Usually art therapy is part of a set of rehabilitation measures; she has certain advantages in diagnosis. Important aspects of the art therapist's work are his professional contacts with colleagues – psychiatrists, nurses, social workers and others. Attempts to use art therapy techniques without close contact with healthcare professionals are often considered unethical and can be harmful to patients. It is proved that art therapy helps to reduce depressive symptoms and aggression, helps to correct behavior, improve communication skills and integration into society.
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Margan, Mădălin-Marius, Roxana Margan, Fira-Mladinescu Corneluta, Putnoky Salomeia, Tuta-Sas Ioana, Bagiu Radu, Zoran-Laurențiu Popa, et al. "Challenges affecting couples resorting to Assisted Reproductive Treatment (ART) in Romania." Obstetrics & Gynecology International Journal 12, no. 4 (July 16, 2021): 240–47. http://dx.doi.org/10.15406/ogij.2021.12.00584.
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Objective: The aim of this paper is to illustrate the main points of interest regarding the way treatment of infertility impacts the life of couples who struggle with this condition in Romania. The unique aspects and specific challenges regarding social, financial and psychological implications that affect Romanian couples who access specialized treatment for infertility will be thoroughly discussed. Methods: This study is a descriptive cross-sectional research. The sample population included patients who attended specialized infertility treatment (Assisted Reproductive Techniques - ART) in Fertility Clinics from Romania. The study was conducted between 2017 and 2019 and data was gathered through two infertility questionnaires. Results: The questionnaire for women was filled in by 829 female participants who struggled with infertility and resorted to ART and the questionnaire for men was completed by 227 male participants, as partners of the women, some of them as well with fertility issues. We analysed the results regarding all aspects surrounding infertility and ART, such as: psychological implications, impact of stress, access to specialized treatment, costs for treatment. Conclusion: The results showed that couples who struggle with infertility have to deal with high costs for specialized infertility treatments, in addition to stress related to treatment, creating a combination which negatively impacts their future chances of getting a pregnancy.
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Rosalina, Teti, Junaidi Junaidi, Amalia Fatmarini, Taufiq Wijaya Giry, Najmi Wardina Nasution, and Ayu Febryani. "Against Cultural Amnesia Through Optimizing The Role of The Youth Generation in Paloh Naga Agrotourism." JUPIIS: JURNAL PENDIDIKAN ILMU-ILMU SOSIAL 14, no. 2 (December 9, 2022): 123. http://dx.doi.org/10.24114/jupiis.v14i2.38212.
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This article aims to describe strengthening character and love of culture as an effort to fight cultural amnesia through various forms of creativity of the younger generation in Paloh Naga Agrotourism. The research method is an ethnographic method with a naturalistic approach. Collecting data through participatory observation, in-depth interviews, focus group discussions and archiving folklore. The data analysis technique used Spradley ethnographic analysis with a series of analyzes processed using ATLAS.ti software. The research results are; Optimizing the role of the younger generation in cultivating positive characters around Paloh Naga Agrotourism through participation in art training in music, dance, and traditional theatre. While in the field of education, through participation in the Lingkaran Community Learning Activity Center, the program consists of Character Education, Cashier Education (Coastal Children's Area), Taqsir (Taqlimul Qur'an for Coastal Children), Community Reading Parks, and teaching at the Rehabilitation Workshop of the National Narcotics Agency, Deli Serdang District. Furthermore, efforts to fight cultural amnesia in the aspect of cultural love by participating in various activities related to folklore, namely oral folklore performances in the performance of the Paloh Naga Legend ballet, partially oral folklore performances in traditional dance and game practices, and non-verbal folklore training in the course of product exhibitions and traditional cuisine. Furthermore, the regeneration process of the younger generation in fighting cultural amnesia begins with participating in character and art education after fulfilling the requirements to become a volunteer-based on qualifications. Finally, the forms of creativity displayed by the younger generation, include preparing various folklore performances, creating creative dances, playing traditional music and traditional games to strengthen social interaction and the value of creativity, and creating various traditional cuisines.
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Srinivasan, Santhoshkumar, and Dhinesh Babu L.D. "A Neuro-Fuzzy Approach to Detect Rumors in Online Social Networks." International Journal of Web Services Research 17, no. 1 (January 2020): 64–82. http://dx.doi.org/10.4018/ijwsr.2020010104.
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Along with true information, rumors spread in online social networks (OSN) on an unprecedented scale. In recent days, rumor identification gains more interest among the researchers. Finding rumors also poses other critical challenges like noisy and imprecise input data, data sparsity, and unclear interpretations of the output. To address these issues, we propose a neuro-fuzzy classification approach called the neuro-fuzzy rumor detector (NFRD) to automatically identify the rumors in OSNs. NFRD quickly transforms the input to fuzzy rules which classify the rumor. Neural networks handle larger input data. Fuzzy systems are better in handling uncertainty and imprecision in input data by producing fuzzy rules that effectively eliminate the unclear inputs. NFRD also considers the semantic aspects of information to ensure better classification. The neuro-fuzzy approach addresses the most common problems such as uncertainty elimination, noise reduction, and quicker generalization. Experimental results show the proposed approach performs well against state-of-the-art rumor detecting techniques.
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Marvella, Bianca, and Andi Surya Kurnia. "GALERI SENI INTERAKTIF." Jurnal Sains, Teknologi, Urban, Perancangan, Arsitektur (Stupa) 1, no. 2 (January 26, 2020): 929. http://dx.doi.org/10.24912/stupa.v1i2.4421.
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Millennials are the generation that lives among advance technology. The use of digital technology is inseparable from the millennial generation. This claim are proven by how technology sink in a lot aspects of life, social aspect as one of them. Today, with digital technology, social media becomes a tool to communicate that can connect people without the limitation of time and place. Millennials, as a generation who use digital technology the most today, open themselves up by showing moments, experiences, and pleasures through art. As a form of expressing oneself, art is no longer limited to a collection of sculptures, or painting, but rather to an aesthetic moments that they can share on social media in the form of photos or videos. In Indonesia, most museums and art galleries only accommodate exhibition spaces that are limited to static object (immovable), even though they are supposedly accommodate dynamic art objects that can be used interactively with visitor galleries. Therefore, a space that can accommodate interactive art objects in the digital age is needed. By using design research methods, carried out on space through observation and exploration, the Interactive Art Gallery not only provides relevant expression space for millennial generations, but also supports direct conversion between communities through art. AbstrakGenerasi milenial merupakan generasi yang tumbuh di tengah perkembangan teknologi yang menjadikan mereka tech savvy (gemar teknologi). Pemakaian teknologi digital sudah sangat lekat dengan generasi milenial. Hal ini dibuktikannya dengan masuknya teknologi dalam aspek-aspek kehidupan, salah satunya adalah aspek sosial. Hari ini, dengan kecanggihan teknologi digital, sosial media menjadi sebuah perangkat interaksi yang dapat mengkoneksikan orang-orang tanpa batasan waktu dan tempat. Milenial, sebagai generasi pengguna teknologi digital terbanyak saat ini, mengekspresikan diri mereka dengan cara menunjukan momen, pengalaman, dan kesukaan, salah satunya lewat seni. Sebagai wujud ekspresi diri, seni tidak lagi terbatas pada koleksi patung, atau lukisan, tetapi lebih kepada momen-momen estetik yang dapat mereka bagikan di sosial media dalam bentuk foto maupun video. Di Indonesia sendiri, kebanyakan museum dan galeri seni hanya mewadahi ruang pamer yang terbatas pada objek-objek seni statis (tidak bergerak) padahal seharusnya mulai berkembang untuk mewadahi objek seni dinamis yang dapat berinteraksi langsung dengan pengunjung galeri. Oleh karena itu, dibutuhkannya sebuah ruang yang dapat mewadahi objek seni interaktif di era digital. Dengan menggunakan metode design research yang melakukan pendekatan terhadap ruang lewat observasi dan eksplorasi perilaku, Galeri Seni Interaktif dirancang dengan tujuan tidak hanya memberikan ruang ekspresi yang relevan untuk generasi milenial, tapi juga mendukung terjadinya interaksi langsung antar masyarakat sekitar melalui seni.
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Saldābola, Sintija. "ISSUES CONCERNING THE PRESERVATION OF GRAFFITI. DEVELOPING CONSERVATION PRACTICES WORLDWIDE." Culture Crossroads 13 (November 9, 2022): 95–103. http://dx.doi.org/10.55877/cc.vol13.118.
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This conference paper is dedicated to rising issues concerning the preservation of graffiti. The author outlines practical and ethical aspects conservators are dealing with while preserving an industrial canvas. How to treat artworks that are tangible and intangible at once? Graffiti is not just a drawing we see on the murals. It is a form of social movement, an artistic expression of opinion. We can draw similarities with contemporary art, where an idea might be an essence of the artwork and artists do not always think about the longevity of their creations. Artists might use materials and techniques that make conservator’s work practically impossible. That is why conservation in its traditional interpretation is an unsuitable solution for graffiti. Various ethical and practical questions have to be answered before conservator and society decide to preserve the art of graffiti.
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Karyawanto, Harpang Yudha. "Fungsi dan Makna Seni Jemblung Murtadho dari Jawa Timur." Jurnal Budaya Nusantara 1, no. 1 (January 1, 2017): 1–9. http://dx.doi.org/10.36456/b.nusantara.vol1.no1.a984.
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This research examines the problem of the value of Jemblung Murtadho art.The research object is Jemblung’sart Sadat Kawedar Murthado in Tunjung village, Udanawu subdistrict, Blitar regency. The purpose of this researchare: (1) examine the meaning of art performing of Jemblung Murthado, (2) examine the art function of Jemblung inperformances. The research approach is using qualitative approach with ethnomusicology method. Data collectiontechniques is using: (1) recording techniques, audio and audiovisual, (2) note taking, (3) interviewing, (4) literaturestudy and documentation analysis. The steps in analyzing the data was done by: Data transcription, understandingdata, classification, and data condification. While for the validity of data, the researcher (1) doing triangulation, (2)doing peer debriefing, and (3) doing member check and audit trial.The research on music in Jemblung’s Murtadhowith ethnomusicology approach will be reviewed by the textual and contextual. The textual elements will expose theproblems concerning aspects of his music while contextual elements will explain about the culture of the community as asupporter of the arts.The results of this research on forms of art music Jemblung covered all of musikologic aspects,namely: (a) the concept of music in Jemblung’s, it has Java’s concept of Islamic art music, which is a form of praisesongs with the addition of story as a media in religious proselyzing, (b) the form of presentation is divided into twoelements among the elements of music and literature, and (c) The means of presentation which includes place, time,players, and costumes. The findings regarding the social function of Jemblung’s Murtadho include: (a) as aestheticsatisfaction,(b) as an entertainment,(c) as a means of communication, (d) as a strengthen compliance with social norms,(e) as a validation of social institutions, and religious rituals, (f) as a contribution to the sustainability and stability ofculture, (g) as an educational tool for the community, (h) as a community mental forming,(i) as a means of obtainingincome and (j) as a Host side traders to sell.
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Widikurnia, Nurisa. "The Acculturation of Kentrung “Tri Setyo Budoyo” in Dayu Village, Nglegok District, Blitar Regency: The Theoretical Study of Cultural Change." Harmonia: Journal of Arts Research and Education 18, no. 1 (August 30, 2018): 62–69. http://dx.doi.org/10.15294/harmonia.v18i1.13971.
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Kentrung “Tri Setyo Budoyo” is a traditional performing art of Blitar. That is a traditional performing art that can survive in the modern era. One of the factors affecting Kentrung “Tri Setyo Budoyo” to survive is adult acculturation on the performing arts. This article aims to (1) Describe the acculturation of art of Kentrungt “Tri Setyo Budoyo” in Dayu Village, Nglegok District, Blitar Regency. (2) Explains the innovation of Kentrung art “Tri Setyo Budoyo” in Dayu Village, Nglegok District, Blitar Regency. This research is a qualitative research, with the object of research is the art of Reog Bulkiyo in Kemloko Village, Nglegok District, Blitar Regency. Data collection techniques used through observation, interviews and documentation. Data analysis technique used is taxonomic analysis.The results showed that cultural change is universal. If there is a change in the culture of a society, it will affect other aspects such as language, knowledge system, social organization, living equipment system and technology, living livelihood system, religious system, and arts. Art Kentrung Tri Sansoso Budoyo “experiencing acculturation and renewal or innovation, this happens because the culture in the community around the environment also experience acculturation. In the art that has an open mind, it will be able to get and go through these cultural changes so as to survive and thrive in the midst of changing times.
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Tivi, Beta. "DEVELOPMENT OF ONLINE CONTEXTUAL LEARNING MODELS USING A SCIENTIFIC APPROACH." Jurnal Socius 10, no. 2 (October 27, 2021): 66. http://dx.doi.org/10.20527/jurnalsocius.v10i2.11052.
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This study aims to describe the science-based contextual learning model applied in kindergarten in North Banjarbaru District during the pandemic, by adopting the type of development research. The tool used in this research is a science-based contextual learning tool developed by the researcher, so the tool must be tested before being used. Based on the findings, it is known that so far teachers have not designed learning tools according to the 2013 curriculum, where in the curriculum there are six aspects of development that must be carried out, including aspects of religious and moral values, social emotional, cognitive, language, physical motor, and art. . Where in presenting the themes and sub-themes, it must refer to these six aspects by presenting them in an integrated manner, it means linking the indicators developed in these aspects related to the sub-themes that have been selected or determined. The learning implementation plan made by the teacher only contains an assessment sheet in the form of a checklist, while to find out all aspects of child development, several assessment techniques are needed when the teacher provides learning and observes children while in the school environment.