Search results for: artistic

Authors: Ha-Guk Jeong, Jong-Beom Lee

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Cladding process is very typical technology for manufacturing composite materials by the hydrostatic extrusion. Because there is no friction between the metal and the container, it can be easily obtained in uniform flow during the deformation. The general manufacturing process for a metal-matrix composite in the solid state, mixing metal powders and ceramic powders with a suited volume ratio, prior to be compressed or extruded at the cold or hot condition in a can. Since through a plurality of unit processing steps of dispersing the materials having a large difference in their characteristics and physical mixing, the process is complicated and leads to non-uniform dispersion of ceramics. It is difficult and hard to reach a uniform ideal property in the coherence problems at the interface between the metal and the ceramic reinforcements. Metal hybrid composites, which presented in this report, are manufactured through the traditional plastic deformation processes like hydrostatic extrusion, caliber-rolling, and drawing. By the previous process, the realization of uniform macro and microstructure is surely possible. In this study, as a constituent material, aluminum, copper, and titanium have been used, according to the component ratio, excellent characteristics of each material were possible to produce a metal hybrid composite that appears to maximize. MgB₂ superconductor wire also fabricated via the same process. It will be introduced to their unique artistic and thermal characteristics.

Keywords: cladding process, metal-hybrid composites, hydrostatic extrusion, electronic/thermal characteristics

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Authors: Anahita Shahrokhi, Hamed Kazemzadeh

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Various issues are included in cultural relations between societies. Art styles along with architectural similarities are by far one of the most noticeable cultural-historic relations. The Dagestan Republic located in the south of Russia Federation in the North Caucasus has had cultural relations with historical Iran since long ago and is considered as a part of the Islamic world. From Sassanid era and Islamic Empire prior to Tsars’ government, such relations had been maintained largely due to Iran and Islam’s political and social dominance over the region. The presence of the Iranians, mostly for business and commerce, is evident through not only written documents but also other cultural elements including architecture and art. Southern Dagestan and northern provinces of Iran, not distant from each other by sea, have a lot of artistic and cultural aspects in common. The architecture used in some structures such as religious centers, Tekie and Saqa Nafars strongly resembles religious centers in the south of Dagestan. The majority of these similarities lie in the wooden carvings, engravings, and paintings of the interior decorations on the pillars, capitals, walls, and ceilings, as well as the similarity of the plans. Such designs were formed in Safavid dynasty first in Mazandaran and later in Dagestan so that this style is currently named Persiski, meaning Persian, in the Dagestan Republic. These similarities indicate the relationship between the artists and educated people from Iran and Dagestan and the Iranians’ role on the religious and cultural development of Dagestan from the 17th and 18th centuries.

Keywords: wooden works, Mazandaran, Dagestan, Saqa Nafar, ritual and Islamic architecture

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Authors: Heide Imai

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Contemporary cities, especially in Japan, have reached an indescribable complexity and excessive, global investments blur formal, rooted structures. Modern urban agglomerations blindly trust a macro understanding, whereas everyday activities which portray the human degree of living space are being suppressed and erased. The paper will draw upon the approach ‘Micro-Urbanism’ which focus on the sensitive and indigenous side of contemporary cities, which in fact can hold the authentic qualities of a city. Related to this approach is the term ‘Micro-Culture’ which is used to clarify the inner realities of the everyday living space on the example of the Japanese urban backstreet. The paper identifies an example of a ‘micro-zone’ in terms of ‘street space’, originally embedded in the landscape of the Japanese city. And although the approach ‘Micro-Urbanism’ is more complex, the understanding of the term can be tackled by a social analysis of the street, as shown on the backstreet called roji and closely linked examples of ‘situated’ urban rituals like (1) urban festivities, (2) local markets/ street vendors and (3) artistic, intellectual tactics. Likewise, the paper offers insights in a ‘community of streets’ which boundaries are specially shaped by cultural activity and social networks.

Keywords: urban rituals, community, streets as micro-zone, everyday space

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Authors: Sabra Saeidi

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When we talk about tangible heritage, the first thing that comes to mind is historic places: what they look like, who made them, and what materials they are made of. But each monument is not limited to its physical constituents and is a complex and related set of human perceptions, memories, narratives, and the structure that shapes its character. In this article, based on the ideology of two great architects, Juhani Pallasmaa and Christian Norberg-Schulz, we discussed the sense of the place and how the human presence in a place with all its senses (visual, auditory, tactile, olfactory, taste) gives life and value to it. This value is all about feeling and definitions and is recorded in the form of our memoirs. An attempt has been made to conclude that our perception of the environment, by our sensory tools, is an intangible and thematic heritage itself, whose existence depends on our existence and has no less value than monuments' physical form and structure. The sense of smell is one of the most powerful, personal and inexplicable, unrecorded, and unexpressed senses and has a solid connection with our memories. by reviewing the case of Kerman Bazaar and its change of use in recent years, we define that one of the ways to protect the olfactory heritage of this valuable complex is to draw a Smellscape: a way to record the moment of present and past memories. Smellscapes are tools for transferring the sense of smell to a visual form to record scents and understand them in a more comprehensive, common, and artistic form.

Keywords: sence of the place, spirit of the place, smellscape, multisensory perception

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Authors: Juhanita Jiman

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This paper aims to demonstrate how androgogical approach can help educators to facilitate animation students with better understanding of their acquired technical knowledge and skills while introducing them to crucial content and ethical values. In this borderless world, it is important for the educators to know that they are dealing with young adults who are heavily influenced by their surroundings. Naturally, educators are not only handling academic issues, they are also burdened with social obligations. Appropriate androgogical approach can be beneficial for both educators and students to tackle these problems. We used to think that teaching pedagogy is important at all level of age. Unfortunately, pedagogical approach is not entirely applicable to university students because they are no longer children. Pedagogy is a teaching approach focusing on children, whereas andragogy is specifically focussing on teaching adults and helping them to learn better. As adults mature, they become increasingly independent and responsible for their own actions. In many ways, the pedagogical model is not really suitable for such developmental changes, and therefore, produces tension, dissatisfaction, and resistance in individual student. The ever-changing technology has resulted in animation students to be very competitive in acquiring their technical skills, making them forget and neglecting the importance of the core values of a story. As educators, we have to guide them not only to excel in achieving knowledge, skills and technical expertise but at the same time, show them what is right or wrong and encourage them to inculcate moral values in their work.

Keywords: andragogy, animation, artistic contents, productive learning environment

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Authors: Ahmad Torkaman, Suogol Shomtob, Hadi Akbari Seddigh

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In this paper it has been attempted to investigate the lack of attention to how specific spatial characteristics of the children except existing places such as nurseries. In order to achieve the standard center to faster children understanding their mentality is the first issue that must be studied. Exploring the spiritual characteristics and complexities of children cannot be possible except in accordance with the different aspects and background of their growth in various age periods. In order to achieving the standard center for fostering children, the first issue that must be studied understands their mentality. Exploring the spiritual qualities and complexities of children are not provided except in accordance with the characteristics and their different growth backgrounds in different age periods. According to previous researches game or playing is the most important activity that helps children to communicate and educate and sometimes therapy in specific fields. Investigating game as a proper way to train, the variety of games, the various kind of play environment and how to treat some abnormalities thereby are the issues discussed in recent research. Another consideration concerns the importance of artistic activities among children which is very evident in studying identification of their abnormalities. At the end of this study after investigating how to understand child and communicate with him/her, aiming to recognize Specific spatial characteristics for better training children, the physical and physiological criteria and characteristics is Reviewed and ends up to a list of required spaces and dimensional characteristic of spaces and needed children's equipment.

Keywords: children, space, interior design, development, growth

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Authors: Khushboo Gokani, Renu Josan

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Mahasweta Devi and Toni Morrison are the two stalwarts of the Indian-English and the Afro-American literature respectively. The writings of these two novelists are authentic and powerful records of the lives of the people because much of their personal experiences have gone into the making of their works. Devi, a representative force of the Indian English literature, is also a social activist working with the tribals of Bihar, Jharkhand, Orissa and West Bengal. Most of her works echo the lives and struggles of the subalterns as is evident in her 'best-beloved book' Chotti Munda and His Arrow. The novelist focuses on the struggle of the tribals against the colonial and the feudal powers to create their identity, thereby, embarking on the ideological project called Setting the Record Straight. The Nobel laureate Toni Morrison, on the other hand, brings to the fore the crucial issues of gender, race, and class in many of her significant works. In one of her representative works, Sula, the protagonist emerges as a non-conformist and directly confronts the notion of a ‘good woman’ nurtured by the community of the Blacks. In addition to this, the struggle of the Blacks against the White domination, also become an important theme of the text. The thrust of the paper lies in making a critical analysis of the portrayal of the heroic attempts of the subaltern protagonist and the artistic endeavor of the novelists in challenging the stereotypes.

Keywords: the struggle of the muted groups, subaltern, center and periphery, challenging the stereotypes

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Authors: Sonia Bernardo Correia

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This paper is part of ongoing research that aims to understand the role of gender in the composition of the Portuguese contemporary art world and the possibilities and limits to the success of the professional paths of women and men artists. The field of visual arts is gender-sensitive as it differentiates the positions occupied by artists in terms of visibility and recognition. Women artists occupy a peripheral space, which may hinder the progression of their professional careers. Based on the collection of data on the participation of artists in Portuguese exhibitions, art fairs, auctions, and art awards between 2012 and 2019, the goal of this study is to portray female artists’ participation as a condition of professional, social, and cultural visibility. From the analysis of a significant sample of institutions from the artistic field, it was possible to observe that the works of female authors are under exhibited, never exceeding one-third of the total of exhibitions. Male artists also enjoy a comfortable majority as gallery artists (around 70%) and as part of institutional collections (around 80%). However, when analysing the younger age cohorts of artists by gender, it appears that there is representation parity, which may be a good sign of change. The data shows that there are persistent gender inequalities in accessing the artist profession. Women are not yet occupying positions of exposure, recognition, and legitimation in the market similar to those of their male counterparts, suggesting that they may face greater obstacles in experiencing successful professional trajectories.

Keywords: inequalities, invisibility of the woman artist, gender, visual arts

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Authors: Baglan Bazylova

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The purpose of our article is to consider the social and psychological conflicts in Lyudmila Petrushevskaya’s stories as an artistic presentation of gender structure of modern society; to reveal originality of the characters’ inner world, the models of their behavior expressing the gender specific nature of modern feminine prose. Gender conflicts have taken the leading place in the modern prose. L. Petrushevskaya represents different types of conflicts including those which are shown in the images of real contradictions in the stories "Narratrix", "Thanks to Life”, "Virgin's Case", "Father and Mother". In the prose of Petrushevskaya the gender conflicts come out in two dimensions: The first one is love relations between a man and a woman. Because of the financial indigence, neediness a woman can’t afford herself even to fall in love and arrange her family happiness. The second dimension is the family conflict because of the male adultery. Petrushevskaya fixed on the unmanifistated conflict in detail. In the real life such gender conflict can appear in different forms but for the writer is important to show it as a life basis, hidden behind the externally safe facade of “the family happiness”. In the stories of L. Petrushevskaya the conflicts reflect the common character of the social and historical situations in which her heroines find themselves, in situations where a woman feels her opposition to the customary mode of life. The types of gender conflicts of these stories differ in character of verbal images. They are presented by the verbal and event ranks creating the conflicts just in operation.

Keywords: gender behavior of heroes, gender conflict, gender picture of the world, gender structure

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Authors: Pietro D'Ambrosio, Roberta D'Ambrosio

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The upgrading of the architectural and urban heritage of the urban historic centers almost always involves the planning for the reuse and refunctionalization of the structures. Such interventions have complexities linked to the need to take into account the urban and social context in which the structure and its intrinsic characteristics such as historical and artistic value are inserted. To these, of course, we have to add the need to make a preliminary estimate of recovery costs and more generally to assess the economic and financial sustainability of the whole project of re-socialization. Particular difficulties are encountered during the pre-assessment of costs since it is often impossible to perform analytical surveys and structural tests for both structural conditions and obvious cost and time constraints. The methodology proposed in this work, based on a multidisciplinary and data-driven approach, is aimed at obtaining, at very low cost, reasonably priced economic evaluations of the interventions to be carried out. In addition, the specific features of the approach used, derived from the predictive analysis techniques typically applied in complex IT domains (big data analytics), allow to obtain as a result indirectly the evaluation process of a shared database that can be used on a generalized basis to estimate such other projects. This makes the methodology particularly indicated in those cases where it is expected to intervene massively across entire areas of historical city centers. The methodology has been partially tested during a study aimed at assessing the feasibility of a project for the reuse of the monumental complex of San Massimo, located in the historic center of Salerno, and is being further investigated.

Keywords: evaluation, methodology, restoration, reuse

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Authors: Meghamala Nugehally

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This paper hypothesises and draws inferences on the impact of minimalism in dance education on the development of artistic and aesthetic sensibilities in individuals in the age group of 5-18 yrs of age. This research and conclusions are within the context of Indian Classical Dance, which is based on Indian theories of aesthetics drawn from the Natyashastra, an ancient treatise on Indian dance and drama. The research employs training methods handed down through a strict one-on-one teacher-student tradition known as the Guru-Shishya Parampara. Aesthetic principles used are defined, and basic theories from the Natyashastra are explained to provide background for the research design. The paper also discusses dance curriculum design and training methodology design within the context of these aesthetic theories. The scope of the research is limited to two genres of Indian classical forms: Bharatanatyam and Odissi. A brief description of these dance forms is given as background and dance aesthetics specific to these forms are described. The research design includes individual case studies of subjects studied, independent predetermined attributes for observations and a qualitative scoring methodology devised for the purpose of the study. The study describes the training techniques used and contrasts minimal solo training techniques with the more elaborate group training techniques. Study groups were divided and the basis for the division are discussed. Study observations are recorded and presented as evidences. The results inform the conclusion and set the stage for further research in this area.

Keywords: dance aesthetics, dance education, Indian classical dance, minimalism

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Authors: Nguyen Viet Tan

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The Bahnar is one of 11 indigenous groups living in the Central Highlands of Vietnam. It is one among the four most popular groups in this area, including the Mnong who speak the same language of Mon Khmer family, while both groups of the Jrai and the Rhade belong to the Malayo-Polynesian language family. These groups once captured fertile plateaus, left their cultural and artistic heritage which affected the remaining small groups. Despite the difference in ethnic origins, these groups seem to share similar beliefs, customs and related folk arts after a very long time living beside each other. However, through an in-depth study, this paper points out the fact that the decorative patterns used by the Bahnar are different from the other ethnic groups, especially in color. Based on historical materials from the local museums and some studies in 1980s when all of the ethnic groups in this area had still lived in self-sufficient condition, this paper characterizes the traditional color scheme used by the Bahnar and identifies the difference in decorative motifs of this group compared to the others by pointing out they do not use green in their usual decorative patterns. Moreover, combined with some field surveys recently, through comparative analysis, it also discovers stylistic variations of these patterns in the process of cultural exchange with the other ethnic groups, both in and out of the region, in modern living conditions. This study helps to preserve and promote the traditional values and cultural identity of the Bahnar people in the Central Highlands of Vietnam, avoiding the fusion of styles among groups during the cultural exchange.

Keywords: Bahnar ethnic group, decorative patterns, the central highlands of Vietnam, the traditional color scheme

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Authors: Dutica Luminita

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For the music composer Myriam Marbe the musical time and memory represent 2 (complementary) phenomena with conclusive impact on the settlement of new musical ontologies. Summarizing the most important achievements of the contemporary techniques of composition, her vision on the microform presented in The Concert for Daniel Kientzy, saxophone and orchestra transcends the linear and unidirectional time in favour of a flexible, multi-vectorial speech with spiral developments, where the sound substance is auto(re)generated by analogy with the fundamental processes of the memory. The conceptual model is of an archetypal essence, the music composer being concerned with identifying the mechanisms of the creation process, especially of those specific to the collective creation (of oral tradition). Hence the spontaneity of expression, improvisation tint, free rhythm, micro-interval intonation, coloristic-timbral universe dominated by multiphonics and unique sound effects. Hence the atmosphere of ritual, however purged by the primary connotations and reprojected into a wonderful spectacular space. The Concert is a work of artistic maturity and enforces respect, among others, by the timbral diversity of the three species of saxophone required by the music composer (baritone, sopranino and alt), in Part III Daniel Kientzy shows the performance of playing two saxophones concomitantly. The score of the music composer Myriam Marbe contains a deeply spiritualized music, full or archetypal symbols, a music whose drama suggests a real cinematographic movement.

Keywords: archetype, chronogenesis, concert, multiphonics

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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: V. Linfante

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Catwalks are one of the key moments in fashion: the first and most relevant display where brands stage their collections, products, ideas, and style. The garment is 'the star' of the catwalk and must show itself not just as a product but as a result of a design process endured for several months. All contents developed within this process become ingredients for connecting scenography, music, lights, and direction into a unique fashion narrative. According to the spirit of different ages, fashion shows have been transformed and shaped into peculiar formats: from Pandoras to presentations organized by Parisian couturiers, across the 'marathons' typical of the beginning of modern fashion system, coming up to the present structure of fashion weeks, with their complex organization and related creative and technical businesses. The paper intends to introduce the evolution of the fashion system through its unique process of seasonally staging and showing its production. The paper intends to analyse the evolution of the fashion shows from the intimacy of ballrooms at the beginning of the 20th century, passing through the enthusiasm attitude typical from the '70s and the '80s, to finally depict our present. In this last scenario, catwalks are not anymore a standard collections presentation but become one of the most exciting expression of contemporary culture (and sub-cultures), going from sophisticated performances (as Karl Lagerfeld's Chanel shows) to real artistic happenings (as the events of Victor&Rolf, Alexander McQueen, OFF_WHITE, Vetements, and Martin Margiela), often involving contemporary architecture, digital world, technology, social media, performing art and artists.

Keywords: branding, communication, fashion, new media, performing art

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Authors: Shuruq Ghazi Nahhas

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Islamic art is a decorative art that depends on repeating motifs in various shapes to cover different surfaces. Each motif has its own characteristics and style that may reflect different Islamic periods, such as Umayyad, Abbasid, Fatimid, Seljuk, Nasrid, Ottoman, and Safavid. These periods were the most powerful periods which played an important role in developing the Islamic motifs. Most of these motifs of the Islamic heritage were not used in new applications. This research focused on reviving the vegetal Islamic motifs found on Islamic heritage and redesign them in a new format to decorate various products, including scarfs, cushions, coasters, wallpaper, wall art, and boxes. The scarf is chosen as one element of these decorative products because it is used as accessories to add aesthetic value to fashion. A descriptive-analytical method is used for this research. The process started with extracting and analyzing the original motifs. Then, creating the new motifs by simplifying, deleting, or adding elements based on the original structure. Then, creating repeated patterns and applying them to decorative products. The findings of this research indicated: repeating patterns based on different structures creates unlimited patterns. Also, changing the elements of the motifs of a pattern adds new characteristics to the pattern. Also, creating frames using elements from the repeated motifs adds aesthetic and contemporary value to decorative products. Finally, using various methods of combining colors creates unlimited variations of each pattern. At the end, reviving the Islamic motifs in contemporary vision enriches decorative products with aesthetic, artistic, and historical values of different Islamic periods. This makes the decorative products valuable that adds uniqueness to their surroundings.

Keywords: Islamic motifs, contemporary patterns, scarfs, decorative products

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Authors: Cengiz Tavşan, Niloufar Akbarzadeh

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Architecture in Iran has a continuous history from at least 5000 BC to the present, and numerous Iranian pre-Islamic elements have contributed significantly to the formation of Islamic art. At first, decoration was limited to small objects and containers and then progressed in the art of plaster and brickwork. They later applied in architecture as well. The art of gypsum and brickwork, which was prevalent in the form of motifs (animals and plants) in pre-Islam, was used in the aftermath of Islam with the art of calligraphy in decorations. The splendor and beauty of Iranian architecture, especially during the Islamic era, are related to decoration and design. After the invasion of Iran by the Arabs and the introduction of Islam to Iran, the arrival of the Iranian classical architecture significantly changed, and we saw the Arabic calligraphy decoration of the mosques in Iran. The principles of aesthetics in the art of calligraphy in Iran are based precisely on the principles of the beauty of ancient Iranian and Islamic art. On the other hand, after Islam, calligraphy was one of the most important sources of Islamic art in Islam and one of the important features of Islamic culture. First, the calligraphy had no cultural meaning and was only for decoration and beautification, it had the same meaning only in the inscriptions; however, over time, it became meaningful. This article provides a summary of the history of calligraphy in the mosques (from the entrance to Islam until the Safavid period), which cannot ignore the role of the calligraphy in their decorative ideas; and also, the important role that decorative elements play in creating a public space in terms of social and aesthetic performance. This study was conducted using library studies and field studies. The purpose of this study is to show the characteristics of architecture and art of decorations in Iran, especially in the mosque's architecture, which reaches the pinnacle of progress. We will see that religious beliefs and artistic practices are merging and trying to bring a single concept.

Keywords: Islamic art, Islamic architecture, decorations in Iranian mosques, calligraphy

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Authors: Khrystyna Zai

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This research delves into the profound impact of Ukrainian musical traditions on the life and works of the renowned composer Sergei Prokofiev. Sergei Prokofiev's formative years in Ukraine, particularly in Sontsivka(Eastern Ukraine), allowed him to immerse himself in the local music. He encountered Ukrainian folk songs and dances, which left an indelible mark on his musical sensibilities. With a focus on the early 20th century, a period of significant cultural transformation in both Ukraine and Europe, this study examines how Prokofiev's exposure to Ukrainian folk music, its melodic motifs, and rhythmic patterns influenced his compositions. Prokofiev’s works showcase his deliberate efforts to fuse Ukrainian elements with his distinctive modernist style. This study analyzes Prokofiev's engagement with Ukrainian themes in his music, such as the "Semen Kotko”, “The Love of Three Oranges”, “On the Dnieper”, “Scythian Suite”, “Sinfonia Concertante" for cello and orchestra, "Sonata No. 9,", “Partisans in the steppes of Ukraine” (where Prokofiev uses texts in Ukrainian). The scientific work mentions his interactions and collaborations with Ukrainian musicians and cultural figures during Prokofiev’s career. Notably, his association with Ukrainian pianist Sviatoslav Richter and conductor Kirill Karabits led to interpretations of his compositions with a Ukrainian perspective. This research illuminates the nuances of cross-cultural influences in Prokofiev's oeuvre, contributing to a deeper understanding of the interplay between national identities and artistic expression during a pivotal period in history, based on the fact that the composer himself considered Ukraine to be his homeland, calling himself “steppe boy”.

Keywords: florida atlantic university, ukrainian music, ukrainian composer, sergei prokofiev

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Authors: Yeaeun Jang

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Shamanism, in general, has been steadily reinterpreted as research and art from cult, superstition, mysticism, and historical perspectives. Shamanism has existed throughout the five-thousand-year-old history of Korea, and it still actively is ongoing. It is interesting to observe how this tradition has had a profound impact on its current high-technology society. Many still ask Shamans for pieces of advice rituals for their problems to be solved. Historically, Korean shamanism has a strong connection and many similarities with Mongolian and Eastern Siberian Shamanism. 'God' is 'Nature'. 'Shaman' is a 'Mediator of communication chosen by God' and is a divine being who has entered the mysterious realm by challenging human limitations through harsh training. A shaman in ancient society used to be a leader of a group and entertainer who played various roles; king, counsellor, doctor, singer, dancer, painter, and performer. This artistic research focuses on the Shaman role as an artist with multiple mediums and reconstructing their ancient ritual into multimedia performing art that attempts to deal with traumatic memories in one’s life. This fusion style of contemporary ritual is mainly inspired by ‘Gut(굿)’, Korean Shamanism ritual. This comprehensive art needs several important elements; a shaman, a client, musicians, helpers, and the audience. It is a feast to gather people in a big circle. Nowadays, art has been divided into separate fields and developed, but before, there existed art of Synesthesia, whose boundaries were unclear that were not determined through which medium to express that abstract ideas. Multiple disciplines coexist and harmonise with each other. Studying shamanism ritual as an ancient form of performing art can create a warm, spiritual feast for everyone and remind us about ‘togetherness’.

Keywords: healing, multimedia art, performance art, shamanism, spirituality

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Authors: Giorgia Predari, Riccardo Gulli

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The paper describes the history and the stylistic choices adopted in the construction of Palazzo Ronzani in Bologna, which was the first building to rise after the heavy demolitions carried out in the historical center of the city at the beginning of the twentieth century. In 1910, the local administration adopted a detailed plan to change the aspect of the city, as it was already happening in the main European capitals. In this context, starting from 1911, the architect and scenographer Gualtiero Pontoni designed for Alessandro Ronzani -the owner of a well-known Bolognese beer company- his Palazzo, which is listed among the first multifunctional buildings in Bologna, containing offices, commercial activities, and entertainment spaces. In an area of about 2000 m², the architect was able to propose a theatre with a capacity of 2000 seats at the basement, shops, a cafè-chantant and a restaurant on the ground floor, clubs, studios and commercial stores on the mezzanine and the first plan, and a hotel on the upper floors. The whole core of the building, at the underground levels, consisted of a reinforced concrete frame (one of the first examples of this type of construction in the city), which allowed the hall to have a free span of 11 x 12 meters, and a height of about 9 meters. Used until 2007 as a cinema, the hall has remained then in disuse for almost 10 years, but now an important functional restoration project with a strong architectural and scenographic value is taking place. It will bring the spaces back to the original geometries, in a historical and artistic condition inspired by the styles of the early Twentieth century.

Keywords: Modernissimo, Palazzo Ronzani, liberty, Bologna

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Authors: Peter Smolianov, Jed Smith, Lisa Chen, Steven Dion, Christopher Schoen, Jaclyn Norberg

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This study evaluated the effectiveness of an experimental training program used to improve performance and health of competitive athletes and recreational sport participants. This holistic program integrated and advanced Eastern and Western methods of prolonging elite sports participation and enjoying lifelong fitness, particularly from China, India, Russia, and the United States. The program included outdoor, gym, and water training approaches focused on strengthening while stretching/decompressing and on full body activation-all in order to improve performance as well as treat and prevent common disorders and pains. The study observed and surveyed over 100 users of the program including recreational fitness and sports enthusiasts as well as elite athletes who competed for national teams of different countries and for Division I teams of National Collegiate Athletic Association in the United States. Different types of sport were studied, including territorial games (e.g., American football, basketball, volleyball), endurance/cyclical (athletics/track and field, swimming), and artistic (e.g., gymnastics and synchronized swimming). Results of the study showed positive effects on the participants’ performance and health, particularly for those who used the program for more than two years and especially in reducing spinal disorders and in enabling to perform new training tasks which previously caused back pain.

Keywords: lifelong fitness, injury prevention, prolonging sport participation, improving performance and health

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Authors: Sanghyun Park

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Influenced by the ideas of collectivism, East Asian contemporary dance is marked by an emphasis on unity and synchronization. A growing element of this discipline that disrupts the path that strives to attain perfection, requiring coordination between multiple parties in order to produce work of their highest artistic potential, with the support from individuals or groups is the presence of disabled dancers. Kawanaka Yo, a Japanese dancer with a mental disability, argues through her '“Dance of Peace' that a dancer should focus on her impulses and natural thoughts through improvisational dancing and eschewal of documentation. Professor and poet Jung-Gyu Jeong, co-founder of the Korea Disability International Art Company, demonstrates with his company’s modernized performances of popular works and musicals that disabled artists do not need perfection so long as they can assert their finesse to mimic or create an equivalence with able-bodied dancers. Yo has studied various forms of modern dance and ballet in Japan and has used her training to ease her mental disability but also accept her handicap as an extension of her identity, representing a trend in disabled dance that favors individuality and acceptance. In contrast, Jeong is an influential figure in South Korea for disabled dancers and artists, believing that disabled artists must overcome a certain threshold in order to reach a status as an artist that is equivalent to a 'normal artist.' East Asian art created by the disabled should not be judged according to different criteria or rubrics compared to able-bodied artists because, as Yo explains, a person’s identity and her handicaps characterize the meaning of, and the value of, the piece.

Keywords: disability studies, modern dance, East Asia, politics of identity

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Authors: Juliane Noack Napoles, Vivian Martins Nogueira Napoles

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This paper operates at the stylistic level of biographical records about the artist Tarsila do Amaral (1886-1973) and the various biographical modes of representation of her subjectivity. Tarsila do Amaral was a Brazilian nationalistic painter, who took part in the first half of the last century in the Antoprofágico Moviment and in the Surrealistic Movement - artistic movements that emerged in the 1920’s. The paper will be developed in the field of Cultural and Media Science and based on an understanding of biography as a subgenre of historical records that will be discussed. Doing that, the theoretical principles about the history genre will also be discussed. In this context, the analytical focus of the present project is the stylistic forms of representation of subjectivity in the postmodern period as expressed in written and audiovisual biographical representation of Tarsila do Amaral. Some exemplary audiovisual biographical records about Tarsila do Amaral will be first analyzed on their own. Then, they will be related to some written biographical records about the painter. At the end, both written and audiovisual records and their stylistic forms of representation of Tarsila do Amaral’s subjectivity are going be analyzed. Tarsila do Amaral will be considered as a Subject Form, following actual concepts about this term in Cultural Studies. For these purposes, it will also be discussed about cultural identity – gender and national identity – and developed a heuristic model so that different understandings and conceptual proposals correlate, including those pertaining to the terms biography, gender, identity, mediality, style, subject and subjectivity. This model will finally be used for the analysis of the selected biographical records.

Keywords: biography, gender, identity, modernism, postmodernism, style, subject, subjectivity, surrealism, Tarsila do Amaral

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Authors: Huma Aly, Caramel Rodger, Saman Zafar

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The present study explored the role of caste system in determining and understanding various personality characteristics related to different castes. It analyzed various personality characteristics of Arains, Jutts and Sheikhs caste of Pakistan. Reasons for the emphasis on within caste marriage in relation to personality characteristics were identified. In the present study a sample of 200 unmarried students were taken from different institutes of Lahore, Pakistan. 117 students were taken from Fast University and 83 from LUMS (Lahore University of Management and Sciences) on the basis of purposive and convenience sampling. 76 Arains, 59 Sheikhs and 65 Jutts were taken. Non-probability purposive sampling, quantitative research method, big five personality scale were used. Kruskal Wallis test was used as three independent groups were taken in the study. Results revealed various personality characteristics associated with different castes namely Arain, Jutts and Sheikhs. Individuals belonging to Jutts caste were reported to be high on being talkative, findings faults, doing thorough job, being depressed, reservedness, quarrelling, reliable, tensed, deep thinker, worrying a lot, imaginative, lazy, inventive, assertive, cold aloof, preserved and rude. Arains were reported to be original, helpful, careless,relaxed, curious, enthusiastic, forgiving, quiet, trusting, moody, shy, retaining anger, routinely working, planners, nervous, playing with ideas, artistic, cooperative, easily distracted and sophisticated. Lastly, Sheikhs were reported to be energetic, disorganized, stable. This study will play a significant part in changing the traditional viewpoint of majority of elders of our society who still have immense association with the caste they belong to.

Keywords: castes, personality, Arains, Jutts, Sheikhs, Pakistan

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Authors: Yusuf Turan

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Definition of Intellectual Property Rights according to the World Intellectual Property Organization: " Intellectual property (IP) refers to creations of the mind, such as inventions; literary and artistic works; designs; and symbols, names and images used in commerce." It states as follows. There are 2 important points in the definition; we can say that it is the result of intellectual activities that occur by one or more than one PERSON and as INNOVATION. When the history and development of the relevant definitions are briefly examined, it is realized that these two points have remained constant and Intellectual Property law and rights have been shaped around these two points. With the expansion of the scope of the term Intellectual Property as a result of the development of technology, especially in the field of artificial intelligence, questions such as "Can "Artificial Intelligence" be an inventor?" need to be resolved within the expanding scope. In the past years, it was ruled that the artificial intelligence named DABUS seen in the USA did not meet the definition of "individual" and therefore would be an inventor/inventor. With the developing technology, it is obvious that we will encounter such situations much more frequently in the field of intellectual property. While expanding the scope, we should definitely determine the boundaries of how we should decide who performs the mental activity or creativity that we call indispensable on the inventor/inventor according to these problems. As a result of all these problems and innovative situations, it is clearly realized that not only Intellectual Property Law and Rights but also their definitions need to be updated and improved. Ignoring the situations that are outside the scope of the current Intellectual Property Term is not enough to solve the problem and brings uncertainty. The fact that laws and definitions that have been operating on the same theories for years exclude today's innovative technologies from the scope contradicts intellectual property, which is expressed as a new and innovative field. Today, as a result of the innovative creation of poetry, painting, animation, music and even theater works with artificial intelligence, it must be recognized that the definition of Intellectual Property must be revised.

Keywords: artificial intelligence, innovation, the term of intellectual property, right

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Authors: Lida Balilan, Dariush Sattarzadeh, Rana Koorepaz

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In the Ilkhanid era, the mystical school of Tabriz manifested itself as an art school in various aspects, including miniatures, architecture, urban planning and design, simultaneously with the expansion of the many sciences of its time. In this era, mysticism, both in form and in poetry and prose, as well as in works of art reached its peak. Mysticism, as an inner belief and thought, brought the audience to the artistic and aesthetical view using allegorical and symbolic expression of the religion and had a direct impact on the formation of the intellectual and cultural layers of the society. At the same time, Mystic school of Tabriz could create a symbolic and allegorical language to create magnificent works of architecture with the expansion of science in various fields and using various sciences such as mathematics, geometry, science of numbers and by Abjad letters. In this era, geometry is the middle link between mysticism and architecture and it is divided into two categories, including intellectual and sensory geometry and based on its function. Soltaniyeh dome is one of the prominent buildings of the Tabriz school with the shrine land use. In this article, information is collected using a historical-interpretive method and the results are analyzed using an analytical-comparative method. The results of the study suggest that the designers and builders of the Soltaniyeh dome have used shapes, colors, numbers, letters and words in the form of motifs, geometric patterns as well as lines and writings in levels and layers ranging from plans to decorations and arrays for architectural symbolization and encryption to express and transmit mystical ideas.

Keywords: geometry, Tabriz school, mystical thoughts, dome of Soltaniyeh

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Authors: Oluwafemi Akinlawon Atoyebi

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This paper examines alienation and fixation as critical issues of/around mental health -crisis, sickness, and healing- through ‘Bode Ojoniyi’s dramaturgy. Two of his dramatic memoirs, arguably written to address such a life-threatening crisis between him and his employer, where he externalizes perhaps his psychological crisis, are critically analysed. This is done through a reading of the three theatrical phenomena of the actor, the character, and the audience against how he plays around the concepts of alienation and fixation within the totality of his dramaturgy beyond what could be seen as a mere academic exercise. The paper situates his apt understanding of their representations as a reflective force of a consciousness that defies psychosomatic existential conflicts. It does so by adopting a qualitative method of analysis through a critical reading of the two dramatic memoirs. It also carries out a survey on the audience that experienced the performances of the memoirs and an interview with Ojoniyi. Using Jean-Paul Sartre’s Theory of Existential Consciousness, the study discovers that there is a way the three phenomena of the actor, the character, and the audience do find expression in Ojoniyi as an existential omniscient playwright-actor-character-audience who is able to transcend the parochialism of an alienated and a fixated self; that beyond the limiting artistic purview, the theatre as a stage is a phenomenon that is capable of capturing the totality of the experiences of a man in his world and that, often time, the depressed are victims of the myopic syndrome as they probably could not see or reflect on/about their realities beyond the self and the play of a casual order. The study concludes that the therapeutic effect of Ojoniyi’s dramatic memoirs, in their reading or performance, is needed by all and should be explored in proffering cures for psychosomatic patients, for it promises to be essentially useful beyond its confine –the Arts.

Keywords: alienation, fixation, the healing theatre, theatrical personalities

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Authors: Emre Bayamlıoğlu

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Apart from being the subject of neighboring rights when broadcasted on TV or of cinematographic work when fixed to a tangible medium including a hard drive, the copyright eligibility of a sports performance, and eventually the sporting event has once again given rise to controversy following the CJEU judgment in the Murphy case. Most of the arguments which deny copyright protection for sports performances focus on the fact that unlike movies, plays, television programs, or operas, athletic events are competitive and have no underlying script. The first part of the paper aims to explain that such rhetoric is rather weak simply for the fact that, several types of performances such as improvised musical or dramatic shows are still protected by copyright despite the fact that they are not based on a script. The second part argues that the core reason for the denial copyright protection was the functionality aiming certain practical results such as winning the game, scoring, eliminating an opponent, obstructing a shot and etc., but no scientific or artistic expression in whatsoever form. The paper further argues that expanding copyright protection to functional performances would give rise to unintended copyright claims by the athletes on tackles, shoots, passes, crosses etc. resulting with further restrictions on reporting and photographing of sporting events. The final part provides a policy analysis of the trend to broaden the scope of copyright to cover sports performances. It is argued that such expansion will clearly undermine the ratio legis of copyright laws since it will give rise to excessive commodification of information beyond the needs of a viable market economy. Therefore, remedies other than copyright protection such as unfair competition and unjust enrichment provides sufficient redress for the damages to be sustained by the investors of sporting events.

Keywords: copyright eligibility, idea-expression dichotomy, sports performance

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Authors: Anahita Suri

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Myriad cultures form the warp and weft of the fabric of this world. The last century saw mass migration of people across geographical boundaries, owing to industrialization and globalization. These people took with them their cultures, costumes, traditions, and folklore, which mingled with the local cultures to create something new and place it in a different context to make it contemporary. With the surge in population and growth of the fashion industry, there has been an increasing demand for innovative and individual fashion, from street markets to luxury brands. Exhausted by local influences, designers take inspiration from the so called ‘low’ culture and create artistic products, place it in a different context, and the end-product is categorized as ‘high’ culture. It is challenging as to why a design/culture is ‘high’ or ‘low’. Who decides which works, practices, activities, etc., are ‘high’ and which are ‘low’? The justification for this distinction is often found not in the design itself but the context attached to it. Also, the concept of high/ low is relative to time- what is ‘high’ today can be ‘low’ tomorrow and ‘high’ again the day after. This raises certain concerns. Firstly, it is sad that a culture which offers inspiration is looked down upon as ‘low’ culture. Secondly, it is ironic because the so designated ‘high’ culture is a manipulation of the truth from the authentic ‘low’ culture, which is capable of true expression. When you borrow from a different culture, you pretend to be authentic because you actually are not. Finally, it is important to be aware of crossing cultural boundaries and the context attached to a design/product so as to use it a responsible way that communicates the design without offending anyone. Is it ok for a person’s cultural identity to become another person’s fashion accessory? This essay explores the complex, multi-layered subject of fashion appropriation and aims to provoke debate over cultural ‘borrowing’ and create awareness that commodification of cultural symbols and iconography in fashion is inappropriate and offensive and not the same as ‘celebrating cultural differences’.

Keywords: context, culture, fashion appropriation, inoffensive, responsible

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Authors: Joyce Onoromhenre Agofure

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Research has shown how fictional work and films reflect the destruction of the environment due to the exploitation of oil, gas, gold, and forest products by multinational companies for profits but overlook discussions on conflict resolution and peacebuilding. However, this paper examines the manner art forms project peace and conflict resolution, thereby contributing to mediation and stability geared towards changing appalling situations in the resource extraction regions of Nigeria. This paper draws from selected Nigerian films- Blood and Oil (2019), directed by Curtis Graham, Black November (2012), directed by Jeta Amata, and a novel- Death of Eternity (2007), by Adamu Kyuka Usman. The study seeks to show that the disruptions caused in the natural resource regions of Nigeria have not only left adverse effects on the social well-being of the people but require resolutions through means of peacebuilding. By adopting the theoretical insights of Social Conflict, this paper focuses on artistic processes that enhance peacebuilding and conflict resolution in non-violent ways by using scenes, visual effects, themes, and images that can educate by shaping opinions, influencing attitudes, and changing ideas and behavioral patterns of individuals and communities. Put together; the research will open up critical perceptions brought about by the artists of study to shed light on the dire need to sustain peace and actively participate in conflict resolution in natural resource extraction spaces.

Keywords: natural resource, extraction, conflict resolution, peace building

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