Search results for: artistic practice

Authors: Justyna Minkiewicz

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Artificial Intelligence (AI) applied in the arts may influence the development of AI knowledge in other sectors and then also impact mutual collaboration with the artistic environment. Hence this collaboration may also impact the development of art projects. The paper will reflect the qualitative research outcomes based on in-depth (IDI) interviews within the marketing sector in Poland and desk research. Art is a reflection of the spirit of our times. Moreover, now we are experiencing a significant acceleration in the development of technologies and their use in various sectors. The leading technologies that contribute to the development of the economy, including the creative sector, embrace technologies such as artificial intelligence, blockchain, extended reality, voice processing, and virtual beings. Artificial intelligence is one of the leading technologies developed for several decades, which is currently reaching a high level of interest and use in various sectors. However, the conducted research has shown that there is still low awareness of artificial intelligence and its wide application in various sectors. The study will show how artists use artificial intelligence in their art projects and how it can be translated into practice within the business. At the same time, the paper will raise awareness of the need for businesses to be inspired by the artistic environment. The research proved that there is still a need to popularize knowledge about this technology which is crucial for many sectors. Art projects are tools to develop knowledge and awareness of society and also various sectors. At the same time, artists may benefit from such collaboration. The paper will include selected aspects of mutual relations, areas of possible inspiration, and possible transfers of technological solutions. Those are AI applications in creative industries such as advertising and film, image recognition in art, and projects from different sectors.

Keywords: artificial intelligence, business, art, creative industry, technology

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Authors: Rachel-Kate Bowdler

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Wartime efforts, news, and heroic stories are important to the public in understanding the political climate, yet hard to digest. However, graphic novels are able to portray intense sociopolitical themes and reinvent the account for the public. Modern comics centered around war introduces the historical context to new audiences, thus keeping history relevant and remembered. This is a trend in graphic novels that is popular for expressing wartime and political stories. Graphic novels make historical accounts and stories easier to understand and more enjoyable to read through creative expression and stylistic choices like color, design, and personified depictions of characters. This results in the need to analyze intense wartime themes in terms of artistic style and elements contributing to the portrayal of the story. Whether directly or indirectly, comics became an outlet for discussing and portraying wars, especially following World War II. It may also be relevant that comics are influential in attitudes towards war efforts. in conducting in analysis on comic books relating to war time stories and a literature review, this paper will seek to analyze the role that comics play in the dissemination of information and feelings surrounding war efforts and attitudes.

Keywords: artistic style, comics, historical, war, art and culture, journalism and media

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Authors: Oxana Vasilyeva

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This paper draws on research in progress focusing on independent art in the Russian Federation. I am using the concept of independent art to mean art free from state control and established restrictive narratives. The Russian state pursues its interests by supporting or forbidding certain forms of art, and art that promotes values in opposition to the official political course is often forbidden. Arguments presented below draw from fieldwork carried out in Russian cities of Moscow and Saint Petersburg in June – August 2019, which included in-depth interviews with artists. This research explores socially engaged artistic works and their effect on socio-political state of affairs. It argues that artistic works entering public places have a potential to challenge autocratic system and inspire civil society to be critically engaged and to be capable to resist state propaganda. I am focusing on those artists who have a critical stance towards the current Russian political regime and analyzing their works in terms of transgression. By using the framework of transgression I aim to demonstrate how artists step across existing norms with their art influencing political and social order. To show the connection between the factors mentioned above, I will turn to two examples of transgressive aesthetics; one is individual and another is collective. The first example is Konstantin Benkovich, an artist who makes his works out of steel rebar, which is considered to be a symbol of the lack of freedom, as it is usually encountered in prison settings. The second example is a collective art practice called Monstration. It combines techniques of a demonstration and a carnival atmosphere. In 2019 Monstration was held in 30 Russian cities, despite the dissatisfaction of the authorities.

Keywords: art, culture, resistance, Russia

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Authors: B. Körner

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This paper compares deviant behaviour in two different readings: 1) as symptomatic for so-called ‘mental illness’ and 2) as part of artistic creation. It analyses works of performance art in the respective frames of psychiatric evaluation and performance studies. This speculative comparison offers an alternative interpretation of mad behaviour beyond pathologisation. It questions the distinction of psychiatric diagnosis, which can contribute to reducing the stigmatisation of mad people. The stigma associated with madness entails exclusion, prejudice, and systemic oppression. Symptoms of psychiatric diagnoses can be considered as behaviour exceptional to the psychological norm. This deviant behaviour constitutes an outsider role which is also defining for the societal role of ‘the artist’, whose transgressions of the norm are expected and celebrated. The research proposes the term ‘artistic exceptionalism’ for this phenomenon. In this study, a set of performance artworks are analysed within the frame of an art-theoretical interpretation and as if they were the basis of a psychiatric assessment. This critical comparison combines the perspective on ‘mental illness’ of mad studies with methods of interpretation used in performance studies. The research employs auto theory and artistic research; interweaving lived experience with scientific theory building through the double role of the author as both performance artist and survivor researcher. It is a distinctly personal and mad thought experiment. The research proposes three major categories of artistic strategies approaching madness: (a) confronting madness (processing and publicly addressing one's own experiences with mental distress through artistic creation), (b) creating critical conditions (conscious or unconscious, voluntary or involuntary creation of crisis situations in order to create an intense experience for a work of art), and (c) symptomatic strategies. This paper focuses on the last of the three categories: symptomatic strategies. These can be described as artistic methods with parallels to forms of coping with and/or symptoms of ‘mental disorders.’ These include, for example feverish activity, a bleak worldview, additional perceptions, an urge for order, and the intensification of emotional experience. The proposed categories are to be understood as a spectrum of approaches that are not mutually exclusive. This research does not aim to diagnose or pathologise artists or their strategies; disease value is neither sought nor assumed. Neither does it intend to belittle psychological suffering, implying that it cannot be so bad if it is productive for artists. It excludes certain approaches that romanticise and/or exoticise mental distress, for example, artistic portrayal of people in mental crisis (e.g., documentary-observational or exoticising depictions) or the deliberate and exaggerated imitation of their forms of expression and behaviour as ‘authentic’ (e.g., Art Brut). These are based on the othering of the Mad and thus perpetuate the social stigma to which they are subjected. By noting that the same deviant behaviour can be interpreted as the opposite in different contexts, this research offers an alternative approach to madness beyond the confines of psychiatry. It challenges the distinction of psychiatric diagnosis and exposes its social constructedness. Hereby, it aims to empower survivors and reduce the stigmatisation of madness.

Keywords: artistic research, mad studies, mental health, performance art, psychiatric stigma

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Authors: Rahah Hasan, Faridah Sahari

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This paper describes the development of modern art in Borneo, particularly in Sarawak, Sabah, and Brunei, after the Second World War until the 1970s. This was the period when the British Colonial government dictated the education system, which consequentially inculcated visual art through art and craft subjects imposed on all vernacular schools in Borneo. British influence within the state governance, social, and education system designed with Western ideology created not only a westernized society and mindset but at the same time generated artistic opportunities for emerging local painters to be involved in the initiation of Modern Art in Borneo. Through the historical method and analysis of primary and secondary data, it was obvious that the existence of colonial government departments and institutions such as museums and teaching colleges, and other social organizations in Borneo at that time contributed significantly to the artistic movement. The similar structure and motivation of development in other areas of Borneo confirmed that artistic affirmation of modern art advanced homogenously. Their understanding of easel painting as well as a unique interpretation of culture once distanced from traditional art, resulting in a new visual image that transcended their ethnicity and identity through new mediums and tools. These meticulous interventions modestly visualized in each painting, as discussed in this paper, hopefully, will give a deeper understanding and appreciation of the history of modern art in Borneo.

Keywords: art history, Borneo art, fine art, modern art

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Authors: Kamilya Khamitova

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This study analyzes the overarching theme of obsession as portrayed through the two protagonists, Humbert Humbert and Kemal, in Vladimir Nabokov's Lolita and Orhan Pamuk's The Museum of Innocence through the lens of Freudian psychoanalytical theory of “transference.” Their obsessions are channeled into various forms of artistic expression following the loss of their beloved Lolita and Füsun. Employing psychoanalytical literary criticism, firmly grounded in the classical era of psychoanalysis, as pioneered by Sigmund Freud, this research explores the characters' psyches, revealing the concealed desires, conflicts, and symbolic manifestations within their relentless obsessions. The aim of this study is to unravel the psychological complexities of obsession, shedding light on the motivations and behaviors of Humbert and Kemal within the context of their respective narratives. Methodologically, this research employs close textual analysis of the novels, dissecting the protagonists' thoughts, actions, and artistic expressions. Through the lens of Freud's fundamental concept of “transference,” this analysis uncovers the protagonists' mechanisms of projecting their desires onto unattainable objects of desire—Lolita and Füsun. Humbert's pursuit of Lolita mirrors his unresolved emotional traumas and attempts to recapture the lost object of his childhood. In contrast, Kemal's fixation on Füsun is a desperate desire to fill an existential void, address a sense of inadequacy, and construct a semblance of immortality through the meticulous preservation of his memories with her. By adopting a psychoanalytic lens, this research provides a richer understanding of the characters, themes, and symbolism inherent in their artistic expressions of devotion.

Keywords: artistic expression, psychoanalysis of obsession, Sigmund Freud, transference

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Authors: Ola Hafez

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This study examines the way selected Egyptian digitally mediated memes utilize intertextuality as a means of expression. It is motivated by the emerging digital socio-political humorous practice using various forms of political commentary in Egyptian social media. One of these forms involves the use of memes incorporating (often doctored) video frames taken from Egyptian plays, films and songs, and relocated in a different socio-political context, often with a caption that re-appropriates the frame for the purpose of critical commentary, thus juxtaposing the socio-political phenomena being addressed and the Egyptian artistic and cultural heritage. The paper presents a discourse study of a convenience sample of a recent social media campaign and carries out two levels of analysis. At the micro level, the study pinpoints the various modes of intertextuality employed, including verbal as well as visual intertextuality in the light of the work of social semiotics by Kress and van Leeuwen. At the macro level, the paper sheds light on the socio-political implications of such practice in the light of Political Discourse Analysis.

Keywords: digitally mediated discourse, discourse analysis, Egyptian Arabic, intertextuality, memes, multimodality, political discourse analysis

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Authors: Daud Abdia, Aqsa Shamim, Farhan Tabassum

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In order to achieve specific goals, basketball players have to use different skills to enhance their motivation, one such skill is deliberate practice. The aim of this study was to explore the relationship between deliberate practice of dribbling and self-regulatory behavior of male basketball players. For this purpose, a sample of 108 basketball players using stratified sampling was taken from public and private sector universities. Sample was divided into two groups that are experimental (n=54) and control group (n=54) using comparative experimental design. Experimental group was involved in the training of deliberate practice of dribbling for 5 weeks. Amounts of weekly practice activity and Self-Regulation of Learning Self-Report Scale (SRL-SRS) were used for self-regulatory behavior to collect data after the deliberate practice. The reliability of amounts of weekly practice activity was found to be 0.852, whereas SRL-SRS was found to be 0.890. The results of the study indicated a strong positive correlation between deliberate practice of dribbling and self-regulatory behavior (r=0.755, n=54, p=.000). Whereas, paired sample t-test; t(53)=1.37, p < 0.005 shows statistically significant improvement in the self-regulatory behavior after the training program of deliberate practice from 3.02 ± 0.64m to 3.21 ± 0.75m (p < 0.005). It was concluded that in order to enhance the self-regulatory behavior of basketball players we should work on the deliberate practice of the players.

Keywords: self-regulatory behavior, deliberate practice, dribbling, basketball

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Authors: Sinem Tas

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This research paper attempts to study the perspective of personal experience in relation to spatial dynamics and artistic outcomes within the realm of cultural identity. This article serves as a partial analysis within a broader PhD investigation that focuses on the cultural dynamics and political structures behind cultural identity through an autoethnography of narrative while presenting its correlation with artistic creation in the context of space and people. Focusing on the artistic/creative practice project AUTRUI, the primary goal is to analyse and understand the influence of personal experiences and culturally constructed identity as an artist in resulting in the compositional modality of the last image considering self-reflective experience. Referencing the works of Joyce Davidson and Christine Milligan - the scholars who emphasise the importance of emotion and spatial experience in geographical studies contribute to this work as they highlight the significance of emotion across various spatial scales in their work Embodying Emotion Sensing Space: Introducing Emotional Geographies (2004). Their perspective suggests that understanding emotions within different spatial contexts is crucial for comprehending human experiences and interactions with space. Incorporating the insights of scholars like Yi-Fu Tuan, particularly his seminal work Space and Place: The Perspective of Experience (1979), is important for creating an in-depth frame of geographical experience. Tuan's humanistic perspective on space and place provides a valuable theoretical framework for understanding the interplay between personal experiences and spatial contexts. A substantial contextualisation of the geopolitics of Turkey - the implications for national identity and cohesion - will be addressed by drawing an outline of the political and geographical frame as a methodological strategy to understand the dynamics behind this research. Besides the bibliographical reading, the methods used to study this relation are participatory observation, memory work along with memoir analysis, personal interviews, and discussion of photographs and news. The utilisation of the self as data requires the analysis of the written sources with personal engagement. By delving into written sources such as written communications or diaries as well as memoirs, the research gains a firsthand perspective, enriching the analytical depth of the study. Furthermore, the examination of photography and news articles serves as a valuable means of contextualising experiences from a journalist's background within specific geographical settings. The inclusion of interviews with close family members access provides firsthand perspectives and intimate insights rooted in shared experiences within similar geographical contexts, offering complementary insights and diversified viewpoints, enhancing the comprehensiveness of the investigation.

Keywords: art, autoethnography, place and space, Turkey

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Authors: Hsu-Hui Cheng, Peng-Chian Chen, Shu-Yuan Chang, Jie-Ying Zhang

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Activities in the music practice rooms range from playing, listening, rehearsing to music performing. The good room acoustics in a music practice room enables a music teacher to teach more effectively subtle concepts such as intonation, articulation, balance, dynamics and tone production. A poor acoustical environment would deeply affect the development of basic musical skills of music students. Practicing in the music practice room is an essential daily activity for music students; consequently, music practice rooms are very important facilities in a music school or department. The purpose of this survey is to measure and analyze the acoustic condition of piano practice rooms at the department of music in Zhaoqing University and accordingly apply a more effective teaching method to music students. The volume of the music practice room is approximately 25 m³, and it has existing curtains and some wood hole sound-absorbing panels. When all small music practice rooms are in constant use for teaching, it was found that the values of the background noise at 45, 46, 42, 46, 45 dB(A) in the small music practice room ( the doors and windows were close), respectively. The noise levels in the small music practice room to higher than standard levels (35dB(A)).

Keywords: acoustical performance, music practice room, noise level, piano room

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Authors: Helmi Vent

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This four-year artistic research project has set the goal of exploring the adaptable transitions within the realms between the two genres. This paper will single out one research question from the entire project for its focus, namely on how and under what circumstances such transitions between a reinterpretation and a new creation can take place during the performative process. The film documentation that accompany the project were produced at the Mozarteum University in Salzburg, Austria, as well as on diverse everyday stages at various locations. The model institution that hosted the project is the LIA – Lab Inter Arts, under the direction of Helmi Vent. LIA combines artistic research with performative applications. The project participants are students from various artistic fields of study. The film documentation forms a central platform for the entire project. They function as audiovisual records of performative performative origins and development processes, while serving as the basis for analysis and evaluation, including the self-evaluation of the recorded material and they also serve as illustrative and discussion material in relation to the topic of this paper. Regarding the “interspaces” and variable 'transitions': The performing arts in the western cultures generally orient themselves toward existing original compositions – most often in the interconnected fields of music, dance and theater – with the goal of reinterpreting and rehearsing a pre-existing score, choreographed work, libretto or script and presenting that respective piece to an audience. The essential tool in this reinterpretation process is generally the artistic ‘language’ performers learn over the course of their main studies. Thus, speaking is combined with singing, playing an instrument is combined with dancing, or with pictorial or sculpturally formed works, in addition to many other variations. If the Performing Arts would rid themselves of their designations from time to time and initially follow the emerging, diffusely gliding transitions into the unknown, the artistic language the performer has learned then becomes a creative resource. The illustrative film excerpts depicting the realms between Performing Arts and Performance Art present insights into the ways the project participants embrace unknown and explorative processes, thus allowing the genesis of new performative designs or concepts to be invented between the participants’ acquired cultural and artistic skills and their own creations – according to their own ideas and issues, sometimes with their direct involvement, fragmentary, provisional, left as a rough draft or fully composed. All in all, it is an evolutionary process and its key parameters cannot be distilled down to their essence. Rather, they stem from a subtle inner perception, from deep-seated emotions, imaginations, and non-discursive decisions, which ultimately result in an artistic statement rising to the visible and audible surface. Within these realms between performing arts and performance art and their extremely flexible transitions, exceptional opportunities can be found to grasp and realise art itself as a research process.

Keywords: art as research method, Lab Inter Arts ( LIA ), performing arts, performance art

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Authors: Ayako Otomo

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This paper will examines the rise of a feminine orientation regarding arts and culture associated with the notion of Sensibility during the early part of the English long eighteenth century. As is widely known, the prosperous modernisation that occurred in this period was a significant factor in the nation taking a leading role in the emergent Enlightenment via the social, political and scientific advancement of Britain. As a result, this prompted the relaxing of the strictures of class and gender hierarchies in line with the new consumerism and cosmopolitanism of the nation. Accordingly, there was a significant increase of female involvement in artistic and cultural consumption. This can be understood in terms of the notion of Sensibility, associating it further with the fields of physiology, psychology and aesthetics, indebted in their turn to British Empiricism. This paper first traces the background of how women were recognisably involved in artistic and cultural circulation within an historical perspective that is articulated by the notion of Sensibility. Then, the discussion turns to the confluence of the issues of female association, creativity and the feminisation of the aesthetic of the arts and culture employing an interdisciplinary perspective. Arts and culture can also classified by public and private social spheres and gender according to Jürgen Habermas. The relationship between women and the theatre became a public issue. Music-making such as playing the harpsichord, reading, and conversation within the ritualistic teatime space dominated many of the artistic and cultural activities within the domestic private sphere.

Keywords: theatre, arts, sensibility, 18th century England

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Authors: Artur Matuck, Guilherme F. Nobre

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Machines can be either tool, media, or social agents. Advances in technology have been delivering machines capable of autonomous expression, both through communication and art. This paper deals with models (theoretical approach) and experiments (applied approach) related to artificial agents. On one hand it traces how social sciences' scholars have worked with topics such as text automatization, man-machine writing cooperation, and communication. On the other hand it covers how computer sciences' scholars have built communicative and artistic machines, including the programming of creativity. The aim is to present a brief survey on artificially intelligent communicators and artificially creative writers, and provide the basis to understand the meta-authorship and also to new and further man-machine co-authorship.

Keywords: artificial communication, artificial creativity, artificial writers, meta-authorship, robotic art

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Authors: Ismail Halijah, Abdullah Rusli

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Introduction: This systematic literature review aims to identify the Knowledge Management Best Practice components in the Knowledge Management Model for Higher Learning Institutions environment. Study design: Systematic literature review. Methods: A systematic literature re-view of Knowledge Management Best Practice to identify and define the components of Best Practice from the Knowledge Management models was conducted recently. Results: This review of published papers of conference and journals’ articles shows the components of Best Practice in Knowledge Management are basically divided into two aspect which is the soft aspect and the hard aspect. The lacks of combination of these two aspects into an integrated model decelerate Knowledge Management Best Practice to fully throttle. Evidence from the literature shows the lack of integration of this two aspects leads to the immaturity of the Higher Learning Institution (HLI) towards the implementation of Knowledge Management System. Conclusion: The first steps of identifying the attributes to measure the Knowledge Management Best Practice components from the models in the literature will led to the definition of the Knowledge Management Best Practice component for the higher learning environment.

Keywords: knowledge management, knowledge management system, knowledge management best practice, knowledge management higher learning institution

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Authors: Elvin Karaaslan Klose

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In the field of Visual Culture, Art Education students are given the opportunity to discuss topics of interest that are closer to their own social life and media consumption habits. In contrast to the established corpus of literature and sources about Art History, educators are challenged to find topics and examples from Popular Culture and Contemporary Art that provide familiarity, depth and inspiration for students’ future practice, both as educators as well as artists. In order to establish a welcoming and fruitful discussion environment at the beginning of an introductory Visual Culture Education course with fourth year Art Education students, the class watched and subsequently discussed the movie “Vantage Point”. Using the descriptive method and content analysis; video recordings, discussion transcripts and learning diaries were summarized to highlight students’ critical points of view towards commonly experienced but rarely reflected on topics of Popular and Visual Culture. As an introduction into more theory-based forms of discussion, watching and intensely discussing a movie has proven useful by proving a combination of a familiar media type with an unfamiliar educational context. Resulting areas of interest have served as a starting point for later research, discussion and artistic production in the scope of an introductory Visual Culture Education course.

Keywords: visual culture, critical pedagogy, media literacy, art education

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Authors: John White

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This study investigated the effects of practice schedules on learning and performance in golf putting, specifically focusing on the impact of increasing contextual interference (CI). University students (n=7) were randomly assigned to blocked, random, or increasing practice schedules. During acquisition, participants performed 135 putting trials using different weighted golf balls. The blocked group followed a specific sequence of ball weights, while the random group practiced with the balls in a random order. The increasing group started with a blocked schedule, transitioned to a serial schedule, and concluded with a random schedule. Retention and transfer tests were conducted 24 hours later. The results indicated that high levels of CI (random practice) were more beneficial for learning than low levels of CI (blocked practice). The increasing practice schedule, incorporating blocked, serial, and random practice, demonstrated advantages over traditional blocked and random schedules. Additionally, EEG was used to explore the neurophysiological effects of the increasing practice schedule.

Keywords: skill acquisition, motor control, learning, contextual interference

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Authors: Walaa Hamed Mohamed Hamza

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Textile structures are the way in which the threading process of both thread and loom is done together to form the woven. Different methods of attaching the clothing and the flesh produce different textile structures, which differ in their surface appearance from each other, including so-called simple textile structures. Textile compositions are the basis of woven fabric, through which aesthetic values can be achieved in the textile industry by weaving threads of yarn with the weft at varying degrees that may reach the total control of one of the two groups on the other. Hence the idea of how art and design can be used using different textile structures under the modern techniques of pate de verre. In the creation of designs suitable for glass products employed in the interior architecture. The problem of research: The textile structures, in general, have a significant impact on the appearance of the fabrics in terms of form and aesthetic. How can we benefit from the characteristics of different textile compositions in different glass designs with different artistic values. The research achieves its goal by the investment of simple textile structures in innovative artistic designs using the pate de verre technique, as well as the use of designs resulting from the textile structures in the external architecture to add various aesthetic values. The importance of research in the revival of heritage using ancient techniques, as well as synergy between different fields of applied arts such as glass and textile, and also study the different and diverse effects resulting from each fabric composition and the possibility of use in various designs in the interior architecture. The research will be achieved that by investing in simple textile compositions, innovative artistic designs produced using pate de verre technology can be used in interior architecture.

Keywords: glass, interior architecture, pate de verre, textile structures

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Authors: Shih-Tsung Chen, Yenchin Hsiao

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Evergreen Lily is a newly-built school after Morakot Typhoon took place. The school is located on Majia farm, which is surrounded by mountains. The fund in the construction of the school is solely sponsored by Chang Yung-Fa Foundation. There are 483 permanent houses near the school belonging to three tribes, Dashe, Majia, and Haocha. Due to the most ancient heritages of Paiwan and Rukai in these three tribes, the school is full of cultural atmosphere. From modern and traditional perspectives, Evergreen Lily strives to establish and develop a long-lasting educational model to meet the expectation of the tribes, parents, and the public. This study is a case study of how to develop indigenous education in newly established schools after the Morakot Hurricane disaster to meet the concept of environmental education. The systematic curriculum construction of education and cultural integration and the systematic practice of curriculum practice will be discussed, and the concept and practice of tribal education curriculum and sustainable environmental education will be understood. This study found that this school integrates the spirit of natural philosophy, democratic education, ethnic and experimental education, and constructs a knowledge system that includes three levels of spiritual culture, institutional culture, and material culture, as well as six dimensions of life philosophy, natural ecology, organizational system, tribal literature and history, song and dance, and technical and artistic methods. Adhering to the concept of harmonious education and the sustainable common good, the development of school-based tribal academic courses accounts for about one-third of the total number of teaching sessions, and there are different cultural themes in grades one to six, and there are clear teaching modules to effectively enhance students' potential inspiration. The complete curriculum implementation model can be described as a model for the development of indigenous schools to sustainable environmental education.

Keywords: environmental education, indigenous education, sustainable development, school-based curriculum

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Authors: Shivanand Pawar

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In India, a collective range of measurements had been adopted to control the massive spread of the COVID-19 pandemic, but World Health Organization (2022) revealed 525 930 fatalities and 43,847,065 confirmed cases. There are currently 30,857 cases per million people. Lack of knowledge, attitude and practices are the main causes thought to be increased COVID-19. The present study aims to assess the knowledge, attitude, and practice among Tamil Nadu residents. The participants (N=332) were aged 20 to 50 (mean=42.78, & SD=13.98) and were selected using purposive sampling, and data were collected online using knowledge, attitude and practice scale. Data were analyzed using person correlation and multiple regression analysis. The result found that 31.30% had satisfactory knowledge, 68.70% had non-satisfactory knowledge, followed by 45.20% had a positive attitude, 54.80% had a negative attitude, and 34.30% had a good practice, and 65.70% had poor practice towards COVID-19. Correlation results revealed that age has a negative and significant relationship with Knowledge and Practice towards COVID-19. The current study results contribute to the existing literature on knowledge, attitude and practice of COVID-19 to reduce the COVID-19 cases by managing unhealthy knowledge, attitude and practice to control the massive spread of COVID-19.

Keywords: COVID-19, knowledge, practice, attitude, Fisherman community

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Authors: Otuu O. Obasi, Jude C. Ajaraogu, Happiness C. Anthony-Ikpe

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Women in Igbo land generally experience culture-related mistreatment in the event of the death of their husbands. The mistreatment ranges from scraping of widows’ hair to denial of the right to see their husbands’ corpses. The objectives of the study were to determine the forms and prevalence of widowhood practice in the studied communities, the effects of the socio-cultural attributes of the people on the practice, and the perceived effect of the practice on the victims. Data for the study were collected from 64 randomly selected communities out of 640 communities in Imo State, Nigeria. 450 copies of the researcher-made-questionnaire were distributed across the three senatorial zones of the State. A total of 418 or 92.8% were completely filled and returned. The result of the study showed, among other things, that the majority of males and females recognized widowhood practice as dehumanizing, but opined that it cannot be stopped because it is rooted in culture. However, 30.2% of the female population did not agree that the practice is dehumanizing to women since it was their cultural practice. The study also revealed that scrapping of widows’ hair was the commonest practice while sleeping alone with the husband’s corpse was the least practice. Regarding the effect which this practice has on widows, emotional trauma topped the list; and was followed by economic hardship and health deterioration. Also shown by the study was that the level of education and religion did not have a notable effect on widowhood practice. With regard to possible stoppage measures, greater number of the respondents (38%) indicated that a synergy of efforts was needed to curb the social scourge.

Keywords: widowhood practice, socio-cultural attributes, violence, impact

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Authors: David Mason-Cox

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Existing academic analyses of The Beatles cover a huge array of topics. This research explores one clear but multifaceted aspect of The Beatles: the development of their creativity. While its importance cannot be underestimated, a thorough appraisal of the roots of the group’s individual and collective artistic blossoming deserves more attention. This paper investigates the mechanisms that caused or enabled the group to eventually exert such an immense and long-lasting influence on popular music and culture. It suggests that the artistic inspiration of Astrid Kirchherr during their time in Hamburg may be much more far-reaching than has previously been credited. It further addresses the effect of the confluence of conditions and events which essentially ‘hot-housed’ the four working-class Liverpudlians, providing them with the incentives and the means to far exceed their apparent potential. Thirdly, it looks at the competitive nature of The Beatles, both as a group and as individuals, and how that competitive streak sparked them to improve as musicians, songwriters, and showmen. In viewing these triggers through the lens of creative theory, the research attempts to analyse what made The Beatles’ innovative ascendancy so extraordinary and why creativity can be misunderstood. This then is the tale of impressionable youths from post-war austerity Britain; the lure of an artist with strong aesthetic sensibilities in an exotic locale, the media boom of the early 1960s, the machinations of the music business, the national grief in the US following Kennedy’s assassination, and, finally the resilience and determination of four young men who were prepared to take advantage of every opportunity to prove, and improve, themselves -the harbingers of a new creative paradigm. This paper is part of a broader study which also examines how their growth toward artistic maturity informs The Beatles’ significance and impact on the culture and the counterculture during the 1960s and beyond. It will eventually combine critical textual analysis with a series of interviews of musicians, other creatives, and intellectuals. These will be conducted to advance the existing erudition and to develop a more accurate understanding of the group’s cultural influence upon real-world individuals.

Keywords: artistic influence, Beatles, competition, creative theory, new creative paradigm

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Authors: Yuet Wah Echo Yeung

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Practice learning is an important component of social work education. Practice educators are charged with the responsibility to support and enable learning while students are on placement. They also play a key role in teaching students to integrate theory and practice, as well as assessing their performance. Current literature highlights the structural factors that make it difficult for practice educators to create a positive learning environment for students. Practice educators find it difficult to give sufficient attention to their students because of the lack of workload relief, the increasing emphasis on managerialism and bureaucratisation, and a range of competing organisational and professional demands. This paper reports the challenges practice educators face and how they manage these challenges in this context. Semi-structured face-to-face interviews were conducted with thirteen practice educators who support students in statutory and voluntary social care settings in the Northwest of England. Interviews were conducted between April and July 2017 and each interview lasted about 40 minutes. All interviews were recorded and transcribed. All practice educators are experienced social work practitioners with practice experience ranging from 6 to 42 years. On average they have acted as practice educators for 13 years and all together have supported 386 students. Our findings reveal that apart from the structural factors that impact how practice educators perform their roles, they also faced other challenges when supporting students on placement. They include difficulty in engaging resistant students, complexity in managing power dynamics in the context of practice learning, and managing the dilemmas of fostering a positive relationship with students whilst giving critical feedback. Suggestions to enhance the practice educators’ role include support from organisations and social work teams; effective communication with university tutors, and a forum for practice educators to share good practice and discuss placement issues.

Keywords: social work education, placement challenges, practice educator, practice learning

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Authors: Chen ChihYu, Tang Wen Tzu, Chen Kuang Hui

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Aim —To compare the dismount skill between Taiwanese and elite international gymnastics in parallel bars following the 2017-2020 code of points. Methods—The gymnasts who advanced to the parallel bars event finals of these four competitions including World Championships, Universiade, the National Games of Taiwan, and the National Intercollegiate Athletic Games of Taiwan both 2017 and 2019 were selected in this study. The dismount skill of parallel bars was analyzed, and the average difficulty score was compared by one-way ANOVA. Descriptive statistics were applied to present the type of dismount skill and the difficulty of each gymnast in these four competitions. The data from World Championships and Universiade were combined as the international group (INT), and data of Taiwanese National Games and National Intercollegiate Athletic Games were also combined as the national group (NAT). The differences between INT and NAT were analyzed by the Chi-square test. The statistical significance of this study was set at α= 0.05. Results— i) There was a significant difference in the mean parallel bars dismount skill in these four competitions analyzed by one-way ANOVA. Both dismount scores of World Championships and Universiade were significantly higher than in Taiwanese National Games and National Intercollegiate Athletic Games (0.58±0.08 & 0.56±0.08 > 0.42±0.06 & 40±0.06, p < 0.05). ii) Most of the gymnasts in World Championships and Universiade selected the 0.6-point skill as the parallel bars dismount element, and for the Taiwanese National Games and the National Intercollegiate Athletic Games, most of the gymnasts performed the 0.4-point dismount skill. iii) The result of the Chi-square test has shown that there was a significant difference in the selection of parallel bars dismount skill. The INT group used the E or E+ difficulty element as the dismount skill, and the NAT group selected the D or D- difficulty element. Conclusion— The level of parallel bars dismount in Taiwanese gymnastics is inferior to elite international gymnastics. It is suggested that Taiwanese gymnastics must try to practice the F difficulty dismount (double salto forward tucked with half twist) in the future.

Keywords: Artistic Gymnastics World Championships, dismount, difficulty score, element

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Authors: Tamer Mokhtar Mohamed Ahmed

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The metalwork industry during the Mamluk period received the attention and care of the sultans and princes, thus helping in the prosperity of this industry during this period. We are fortunate that a huge number of metal artifacts from the industry of Egypt and Syria of this period have come down to us, many of which are preserved in Egyptian and international museums as well as private collections. Characterized by great diversity in its forms, sizes and functions, including the decorative designs executed on them, the artifacts reflected the extent of artistic creativity that characterized the arts in the two Mamluk period. This research paper aims to study three copper dishes from the Mamluk Circassian period and the rare documentary texts on them that have not been previously studied. These dishes date back to different decades from the 9th AH/15 AD century. One of them bears the name of Sultan Al-Muayyad Shaikh, and the second is the name of one of the great Mamluk princes in the Mamluk Circassian period, Prince Yashbak min Mahdi. The third dish is attributed to Prince Jan Balat Al-Ashrafie.

Keywords: metalwork, dishes, decorative, calligraphy, Mamluk Arts

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Authors: Paulo Da Silva Quadros

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This work aims to point out comparative parameters between the artistic production of two exponents of the contemporary popular culture scene: Caetano Veloso (Brazil) and David Bowie (England). Both Caetano Veloso and David Bowie were pioneers in establishing an aesthetic game between various artistic expressions at the service of the music-visual scene, that is, the conceptual interconnections between several forms of aesthetic processes, such as fine arts, theatre, cinema, poetry, and literature. There are also correlations in their expressive attitudes of art, especially regarding the dialogue between the fields of art and politics (concern with respect to human rights, human dignity, racial issues, tolerance, gender issues, and sexuality, among others); the constant tension and cunning game between market, free expression and critical sense; the sophisticated, playful mechanisms of metalanguage and aesthetic metacritique. Fact is that both of them almost came to cooperate with each other in the 1970s when Caetano was in exile in England, and when both had at the same time the same music producer, who tried to bring them closer, noticing similar aesthetic qualities in both artistic works, which was later glimpsed by some music critics. Among many of the most influential issues in Caetano's and Bowie's game of artistic-aesthetic expression are, for example, the ideas advocated by the sensation of strangeness (Albert Camus), art as transcendence (Friedrich Nietzsche), the deconstruction and reconstruction of auratic reconfiguration of artistic signs (Walter Benjamin and Andy Warhol). For deepen more theoretical issues, the following authors will be used as supportive interpretative references: Hans-Georg Gadamer, Immanuel Kant, Friedrich Schiller, Johan Huizinga. In addition to the aesthetic meanings of Ars Ludens characteristics of the two artists, the following supporting references will be also added: the question of technique (Martin Heidegger), the logic of sense (Gilles Deleuze), art as an event and the sense of the gesture of art ( Maria Teresa Cruz), the society of spectacle (Guy Debord), Verarbeitung and Durcharbeitung (Sigmund Freud), the poetics of interpretation and the sign of relation (Cremilda Medina). The purpose of such interpretative references is to seek to understand, from a cultural reading perspective (cultural semiology), some significant elements in the dynamics of aesthetic and media interconnections of both artists, which made them as some of the most influential interlocutors in contemporary music aesthetic thought, as a playful vivid experience of life and art.

Keywords: Caetano Veloso, David Bowie, music aesthetics, symbolic playfulness, cultural reading

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Authors: Pauliina Haustein

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Improvisation was part of Western classical concert culture and performers’ skill sets until early 20th century. Historical accounts, as well as recent studies, indicate that improvisatory elements in the programme may contribute specifically towards the audiences’ experience of enhanced emotional engagement during the concert. This paper presents findings from the author’s artistic practice research, which explored re-introducing improvisation to Western classical performance practice as a musician (cellist and ensemble partner/leader). In an investigation of four concert cycles, the performer-researcher sought to gain solo and chamber music improvisation techniques (both related to and independent of repertoire), conduct ensemble improvisation rehearsals, design concerts with an improvisatory approach, and reflect on interactions with audiences after each concert. Data was collected through use of reflective diary, video recordings, measurement of sound parameters, questionnaires, a focus group, and interviews. The performer’s empirical experiences and findings from audience research components were juxtaposed and interrogated to better understand the (1) rehearsal and planning processes that enable improvisatory elements to return to Western classical concert experience and (2) the emotional experience and type of engagement that occur throughout the concert experience for both performer and audience members. This informed the development of a concert model, in which a programme of solo and chamber music repertoire and improvisations were combined according to historically evidenced performance practice (including free formal solo and ensemble improvisations based on audience suggestions). Inspired by historical concert culture, where elements of risk-taking, spontaneity, and audience involvement (such as proposing themes for fantasies) were customary, this concert model invited musicians to contribute to the process personally and creatively at all stages, from programme planning, and throughout the live concert. The type of democratic, personal, creative, and empathetic collaboration that emerged, as a result, appears unique in Western classical contexts, rather finding resonance in jazz ensemble, drama, or interdisciplinary settings. The research identified features of ensemble improvisation, such as empathy, emergence, mutual engagement, and collaborative creativity, that became mirrored in audience’s responses, generating higher levels of emotional engagement, empathy, inclusivity, and a participatory, co-creative experience. It appears that duringimprovisatory moments in the concert programme, audience members started feeling more like active participants in za\\a creative, collaborative exchange and became stakeholders in a deeper phenomenon of meaning-making and narrativization. Examining interactions between all involved during the concert revealed that performer-audience impulse exchange occurred on multiple levels of awareness and seemed to build upon each other, resulting in particularly strong experiences of both performer and audience’s engagement. This impact appeared especially meaningful for audience members who were seldom concertgoers and reported little familiarity with classical music. The study found that re-introducing improvisatory elements to Western classical concert programmes has strong potential in increasing audience’s emotional engagement with the musical performance, enabling audience members to connect more personally with the individual performers, and in reaching new-to-classical-music audiences.

Keywords: artistic research, audience engagement, audience experience, classical improvisation, ensemble improvisation, emotional engagement, improvisation, improvisatory approach, musical performance, practice research

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Authors: Maaly Jarrah

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There is no doubt that reflective practice has become a stable component in continuous professional development (CPD) courses around the world for the purpose of promoting teacher development, meaningful learning, and deliberate teacher personal and professional growth. However, while there is much research on the benefits of integrating reflective practice in teacher CPD courses, not enough research explores EFL teachers’ experiences with engagement in reflective practice in the CPD from their own perspectives. This research employed a case study approach to explore the experience of 7 EFL teachers with engaging in reflective practice in a CPD course that took place in Kuwait.The participating EFL teachers engaged in collaborative dialogue reflections and completed reflection journal entries as part of the course. Data was collected through semi-structured interviews and analyzed thematically. Findings indicate that the participating teachers’ positive experience with reflective practice is associated with their engagement in collaborative dialogue reflections, while challenges and negative feelings are associated with writing their reflection journal entries. Accordingly, the study offers recommendations for CPD courses to help improve EFL teachers’ experiences with engagement in reflective practice.

Keywords: Collaborative dialogue reflections, continuous professional development, EFL teachers, reflection journals, teacher reflective practice

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Authors: David Osa-Egonwa

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Visual culture is the expression of the norms and social behavior of a society in visual images. A reflection simply shows you how you look when you stand before a mirror, a clear water or stream. The mirror does not alter, improve or distort your original appearance, neither does it show you a caricature of what stands before it, this is the case with visual images created by a tribe or society. The ‘uli’ is hand drawn body design done on Igbo women and speaks of a culture of body adornment which is a practice that is appreciated by that tribe. The use of pattern of the gliding python snake ‘ije eke’ or ‘ijeagwo’ for wall painting speaks of the Igbo culture as one that appreciates wall paintings based on these patterns. Modern life came and brought a lot of change to the Igbo-speaking people of Nigeria. Change cloaked in the garment of Westernization has influenced the culture of the Igbos. This has resulted in a problem which is a break in the cultural practice that has also affected art produced by the Igbos. Before the colonial masters arrived and changed the established culture practiced by the Igbos, visual images were created that retained the culture of this people. To bring this point to limelight, this paper has adopted a historical method. A large number of works produced during pre and post-colonial era which range from sculptural pieces, paintings and other artifacts, just to mention a few, were studied carefully and it was discovered that the visual images hold the culture or aspects of the culture of the Igbos in their renditions and can rightly serve as a mirror of the Igbo visual culture.

Keywords: artistic renditions, historical method, Igbo visual culture, changes

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Authors: Kyungbong Kim

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This study proposed to compare and analyse the five stages of cultivating the Yogâcāra path and the spiritual journey in the Ten Ox-Herding Pictures. To achieve this, the study investigated the core concepts and practice methods of the two approaches and analysed their relations from the literature reviewed. The results showed that the end goal of the two approaches is the same, the attainment of Buddhahood, with the two having common characteristics including the practice of being aware of the impermanent and non-self, and the fulfilling benefit of sentient beings. The results suggest that our Buddhist practice system needs to sincerely consider the realistic ways by which one can help people in agony in contemporary society, not by emphasizing on the enlightenment through a specific practice way for all people, but by tailored practice methods based on each one's faculties in understanding Buddhism.

Keywords: transformation of consciousness to wisdom, enlightenment, the five stages of cultivating the Yogacāra path, the Ten Ox-Herding Pictures, transformation of the basis

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Authors: A. Abdullah, N. ul Haq, A. Nasim

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Objectives: This study was aimed to assess the knowledge, attitude, and practice of anemia among females attending Bolan Medical Complex Quetta, Balochistan. Methods: A quantitative cross-sectional study by adopting a questionnaire containing 3 dimensions knowledge (15 questions), Attitude (5 questions), and Practice (4 questions) for the assessment of knowledge, attitude and practice of anemia among females was conducted. All females attending Bolan Medical Complex Quetta, Balochistan were approached for the study. Descriptive statistics were used to describe demographic and KAP related characteristics of the females regarding anemia.All data were analyzed by using SPSS (Statistical Package of Social Sciences) software program version 20.0. Results: Data was collected from six hundred and thirteen (613) participants. Majority of the respondents (n=180, 29.4%) were categorized in the age group of 29-33 years. Participants had knowledge regarding anemia was (n= 564, 91.9%), and attitude was (n= 516, 84.0%) whereas practice was (n=437, 71.3%). Multitative analysis revealed the negative correlation between Attitude-practice (P= -0.040) and a significant figure (0.001) was present between knowledge-attitude. Occupation and reason of diagnosis were not predictive of better KAP. Conclusions: Knowledge, attitude, and practice of Anemia shows a satisfactory response in this study. Furthermore, study finding implicates the need for health promotion among females. Improving nutritional knowledge and information related Anemia can result in better control and management.

Keywords: anemia, knowledge attitude and practice, females, college

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