Search results for: artistic activities

Authors: Ebtehag Tolba, Ahmed Mousa, Mohamed Abd El-Salam

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The study presents a proposed program for nursery school children in Egypt. The program consists of a collection of artistic activities and aims to develop the language, mathematical, and artistic skills of preschool children. Furthermore, the researcher has presented a questionnaire to experts about the link between the target group and the content. Finally, the proposed program was applied to group of 30 children. In addition, the researcher has prepared another questionnaire for measuring the effect of the program. This questionnaire was used as a pre-test and post-test, and at the end of the study, a significant difference was determined in favour of the post-test results.

Keywords: developing, concepts, nursery, children, artistic activities

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Authors: Mona Yacoub, Ahmed Amin Mousa

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The current work presents a program for children in Egypt. This program involved a collection of artistic activities that purposes to improve some language, artistic skills of kindergarten children. The researchers have prepared a questionnaire for the link between the target group and the content. The questionnaire has been presented to experts for adjudicating. The program was applied to a group of 30 children. Another questionnaire has been prepared by the researchers for measuring the activities’ effect on the children. The second questionnaire was considered as the pre-test and post-test. Finally, after applying the activities and the questionnaire, the researchers detected a significant difference in favor of the post-test results.

Keywords: Developing, concepts, kindergarten, children, graphic activities

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Authors: Carole Salis, Marie F. Wilson, Fabrizio Murgia, Cristian Lai, Franco Atzori, Giulia M. Orrù

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ANDASA is a knowledge management platform for the capitalization of knowledge and cultural assets for the artistic and cultural sectors. It was built based on the priorities expressed by the participating artists. Through mapping artistic activities and specificities, it enables to highlight various aspects of the artistic research and production. Such instrument will contribute to create networks and partnerships, as it enables to evidentiate who does what, in what field, using which methodology. The platform is accessible to network participants and to the general public.

Keywords: cultural promotion, knowledge representation, cultural maping, ICT

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Authors: Ahmed Amin Mousa, Huda Mazeed, Eman Saad

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The study aims to identify the extent of the effectiveness of the artistic formation program using some types of pastes to reduce the hyperactivity of the kindergarten child. The researcher has discussed the effectiveness of the artistic program using some types of pastes in reducing the hyperactivity of the kindergarten child. The research sample included 120 children of ages between 5 to 6 years old from the five schools for special needs section learning disability, Cairo Province. The study used the empirical like curriculum which depends on designing one group using the before and after application measurement for the group to validate the fidelity of both the hypothesis and the effectiveness of the program. The variables of the study were specified as follows; artistic formation program using paper Mache as an independent variable and its effect on skills of kindergarten child with learning disabilities as a subsequent variable. The researchers depended on applying a group of artistic formation program using pulp melding skills for kindergarten children with learning disabilities. The tools of the study, designed by the researcher, included: recording card used for recording the Effective program using pulp molding skills for kindergarten children with learning disabilities during practicing the artistic formation activity. In additional, there was a program using pulp molding skills for kindergarten children with learning disabilities. The results proved the effectiveness of the program using pulp molding skills for kindergarten children with learning disabilities.

Keywords: artistic program, developing skills, kindergarten, children, learning disabilities

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Authors: Aber Salem Aboalgasm, Rupert Ward

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The aim of this research is to explore how pupils in art classes can use creative digital art tools to redesign Tamazight fonts, in order to develop children’s artistic creativity, enable them to learn about a new culture, and to help the teacher assess the creativity of pupils in the art class. It can also help students to improve their talents in drawing. The study could relate to research in Libya among the Amazigh people (better known as Berber) and possibly the development of Tamazight fonts with new uses in art. The research involved students aged 9-10 years old working with digital art tools, and was designed to explore the potential of digital technology by discovering suitable tools and techniques to develop children’s artistic performance using Tamazight fonts. The project also sought to show the aesthetic aspects of these characters and to stimulate the artistic creativity of these young people.

Keywords: artistic creativity, Tamazight fonts, technology acceptance model, traditional, digital art tools

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Authors: Houyem Kotti

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The development in societies requires that these societies are continuously changing in various aspects, a change that requires continuous adaptation to the data of the technical age. In order for the individual to perform his/her duty or task in a perfect way, it is necessary to provide all the basic requirements and necessities to increase the efficiency and effectiveness of the personnel working to accomplish their tasks, requirements, and work successfully. The success of the industries and organizations are linked to the need to create individuals in the creative and innovative field. Formation process is considered an economic development and social prosperity, and to improve the quantity and quality of artistic work. Therefore, creativity and innovation play an important role in improving the performance of the artistic organization as it is one of the variables affecting the organization's ability to grow and invest. In order to provide better services to their customers, especially in the face of competition and traditional methods of work, and in an environment that discourages and hinders creativity and impairs any process of development, change or creative behavior. The research methodology that will be performed for this study is described as qualitative by conducting several interviews with artistic people, experts in the artistic field and reviewing the related literature to collect the necessary and required qualitative data from secondary sources such as statistical reports, previous research studies, etc. In this research, we will attempt to clarify the relationship between innovation and its importance in the artistic organization, the conditions of achieving innovation and its constraints, barriers, and challenges. The creativity and innovation and their impacts on the performance of artistic organizations, explaining this mechanism, so as to ensure continuity of these organizations and keeping pace with developments in the global economic environment.

Keywords: artistic work, creativity and innovation, artistic organization, performance

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Authors: Aber Salem Aboalgasm, Rupert Ward

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This study investigated some results of the use of digital art tools by junior school children in order to discover if these tools could promote artistic ability and creativity. The study considers the ease of use and usefulness of the tools as well as how to assess artwork produced by digital means. As the use of these tools is a relatively new development in Art education, this study may help educators in their choice of which tools to use and when to use them. The study also aims to present a model for the assessment of students’ artistic development and creativity by studying their artistic activity. This model can help in determining differences in students’ creative ability and could be useful both for teachers, as a means of assessing digital artwork, and for students, by providing the motivation to use the tools to their fullest extent. Sixteen students aged nine to ten years old were observed and recorded while they used the digital drawing tools. The study found that, according to the students’ own statements, it was not the ease of use but the successful effects the tools provided which motivated the children to use them.

Keywords: artistic ability, creativity, drawing digital tool, TAM model, psychomotor domain

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Authors: Hala Ali

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In the evolving landscape of contemporary art, the value of failure and experimentation plays a central role in reshaping artistic research. This paper explores an artistic residency where the focus shifted from traditional practices of ink on canvas to performance art using the human body as a medium of expression. This residency emphasized uncertainty, experimentation, and emotional expression as the core of the process. Through collaboration between a calligrapher and a visual artist, the performance engaged themes of seduction, silence, and the transition between reality and abstraction. In alignment with experimental art practices, the process itself became the artwork, embracing moments of failure and disruption as key components of creative exploration. This research integrates theories from neuroscience, psychology, and artistic failure, drawing on the insights of thinkers like John Cage, Samuel Beckett, and Cornelius Cardew to further contextualize the residency’s impact.

Keywords: embodied art, emotional communication, mindfulness in art, nonverbal communication, performance art

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Authors: Christine C. Neal

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A veritable world citizen, Nanyang painter Georgette Chen (1906-1993) melded artistic influences from both the East and West. Much has been written about her contribution to the art of Singapore, her role in the establishment of the Nanyang Style, the lasting influence that she exerted on younger artists, and her considerable artistic achievements. Never before examined is the development of her oeuvre that reflects this mixture, to the best of the author’s knowledge. The works selected for this investigation reveal her artistic development from student to teacher, the range of her thematic interests, and the stimuli that she absorbed from a life ensconced in eastern and western cultures where she felt, as she wrote, “at home in this world.”

Keywords: art, China, Georgette Chen, Nanyang, Paris, Singapore

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Authors: Mukta Avachat-Shirke

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The process of manifestation in art has been studied deeply by various Indian and Western philosophers through times. In the art of painting, ‘Practice’ is always considered as techniques or making and ‘Theory’ is related to intelligence or the ‘conceptual.' The question about the significance of ‘Practice’ in artistic research has been a topic of debate. The aim of this qualitative study is to find the relevance of practice and theory while creating artworks. This study analyzes the thoughts and philosophy of Abhinavgupta, Hegel, and Croce to find a new perspective for looking at practice and theory within artistic research. With the method of grounded theory, the study attempts to establish the importance of both in artistic research. It discusses the issues like stages of creating art, role of tacit knowledge and importance of the decision-making the ability of the artist. This comparative analysis of these three philosophers along with the present systems can be used as a point of reference for further developments in the pedagogy of art research and artists, to understand the psychology and to follow the process of creativity effectively.

Keywords: artistic research, Indian philosophy, practice, Western Philosophy

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Authors: Teja Joshi

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Laterality has shown to play a role in performance as well as injuries especially in unilateral sports disciplines. Uniquely, Artistic Gymnastics involves combination of unilateral, bilateral and complex multi-planer elements as well as gymnastics specific rotational preference. Therefore, this study was conducted to explore if any such preferences are associated with number of injuries in artistic gymnasts. To explore the association between lateral preferences, rotational preferences and injuries incidence in artistic gymnastics. Artistic gymnasts above 16 years of age, were invited to participate in an online survey. The survey included consent, lateral preference inventory, injury data collection according to anatomical locations and rotational preference for selected gymnastics elements performed on the floor exercise. SPSS version 24 was used to analyse Non-parametric data using Kruskal-Wallis (K- independent test) test. Multiple regression was performed to identify the predictor for injuries and their side in gymnasts. Total number of injuries per gymnast was associated with handedness (p value-0.049) and no significant association was noted for footdness (p value-0.207), eyedness (p value-0.491) and eardness (p value-0.798). Additionally, rotational preferences did not influence number of injuries (p value-0.521). In multiple regression, eyedness was identified as a predicting factor to determine the number of injuries. Rotational preferences were neither determined as a national strategy nor a product of lateral preference. Dominant hand had higher number of injuries in artistic gymnasts. Rotational preference is independent of laterality, number of injuries and nationality.

Keywords: sports injury, rotational preference, gymnastics, handedness

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Authors: Marie Bajnarová

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The core part of the research project is represented by taking a perspective on the role of an educator in Juvenile Institutional Centres. In accordance with the research questions, the research explores impact of the environment, situations, practices, attitudes, values and also experience of the respondents. Art activities minimize risky behaviours and contribute to a healthy lifestyle. They also help children and adolescents with conduct disorders develop positive social behaviour, psychosocial skills and cope with difficult life situations.

Keywords: Juvenile Detention Centres, drawing, conduct disorders, art therapy

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Authors: Fabian Saptouw

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In the past decade there was a resurgence of interest in the value of ‘process’ and ‘craft’ within the social and artistic community. Theorist like Barbara Bolt and Paul Carter have eloquently argued for the importance of ‘theorizing out of practice’ and ‘material thinking’ in response to this trend. Time and labour intensive artistic production processes are however not generally included in this bracket and often labelled as either obsessive or absurd. Neither of these terms adequately conveys the conceptual importance of labour in relation to ‘process’ as manifested through this production method. This issue will be addressed by critically assessing the work of eight South African artists through the lens of contemporary process-based production. This will result in a more integrated view of the art-object, its art-historical trajectory, its materialisation as well as its production process. This paper will conclude by tying the characteristics of these artworks to international trends and provide a platform for the overall reconsideration of unalienated artistic labour.

Keywords: materiality, process art, practice-led research, unalienated labour

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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: Filipa Cruz, Grecia P. Matos

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An Inexhaustible Will of Infinite is ongoing practice-based research focused on a psychophysiological conception of body and on the creative will that seeks to examine the possibility of art being simultaneously a pacifier and an intensifier in a physiological artistic production. This is a study where philosophy and art converge in a commentary on the affection of the concept of will to power in the art world through Nietzsche’s commentaries, through the analysis of case studies and a reflection arising from artistic practice. Through Nietzsche, it is sought to compare concepts that communicate with the artistic practice since creation is an intensification and engenders perspectives. It is also a practice highly embedded in the body, in the non-verbal, in the physiology of art and in the coexistence between the sensorial and the thought. It is questioned if the physiology of art could be thought of as a thinking-feeling with no primacy of the thought over the sensorial. Art as a manifestation of the will to power participates in a comprehension of the world. In this article, art is taken as a privileged way of communication – implicating corporeal-sensorial-conceptual – and of connection between humans. Problematized is the dream and the drunkenness as intensifications and expressions of life’s comprehension. Therefore, art is perceived as suggestion and invention, where the artistic intoxication breaks limits in the experience of life, and the artist, dominated by creative forces, claims, orders, obeys, proclaims love for life. The intention is also to consider how one can start from pain to create and how one can generate new and endless artistic forms through nightmares, daydreams, impulses, intoxication, enhancement, intensification in a plurality of subjects and matters. It is taken into consideration the fact that artistic creation is something that is intensified corporeally, expanded, continuously generated and acting on bodies. It is inextinguishable and a constant movement intertwining Apollonian and Dionysian instincts of destruction and creation of new forms. The concept of love also appears associated with conquering, that, in a process of intensification and drunkenness, impels the artist to generate and to transform matter. Just like a love relationship, love in Nietzsche requires time, patience, effort, courage, conquest, seduction, obedience, and command, potentiating the amplification of knowledge of the other / the world. Interlacing Nietzsche's philosophy, not with Modern Art, but with Contemporary Art, it is argued that intoxication, will to power (strongly connected with the creative will) and love still have a place in the artistic production as creative agents.

Keywords: artistic creation, body, intensification, psychophysiology, will to power

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Authors: Uchenna Bella Onu

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Traditional art is one of Nigerian cultural heritage. It is an excellent instrument for documentation and identification. Antiquities are priceless and irreplaceable. They are basically preserved for future generations. Sadly, preserving these highly prized cultural heritage is becoming a serious challenge. This paper examines the extent modernization has affected the preservation of traditional art in Nigeria. Particularly hit is the antiquities and traditional murals of eastern part of Nigeria. Participatory visual methods were used for this study. Efforts were made to reach the few surviving and aged mural artists. Oral information was collected from them as well as first hand drawings and some photographs of their works. Findings indicate that modernization has seriously affected the preservation of Nigerian artistic heritage. Further findings show that traditional mural artists are gradually dwindling and dangerously going into extinct. Antiquities are indiscriminately destroyed due to sheer ignorance and the blind quest to fit into the so called modern world.  

Keywords: antiquities, artistic heritage, cultural preservation, drawings, modernization, murals

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Authors: Sarita Agarwal, Deepika Delsa Dean

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Like the task of transferring photo images to artistic images, image-to-image translation aims to translate the data to the imitated data which belongs to the target domain. Neural Style Transfer and CycleGAN are two well-known deep learning architectures used for photo image-to-art image transfer. However, studies involving these two models concentrate on one-to-one domain translation, not one-to-multi domains translation. Our study tries to investigate deep learning architectures, which can be controlled to yield multiple artistic style translation only by adding a conditional vector. We have expanded CycleGAN and constructed Conditional CycleGAN for 5 kinds of categories translation. Our study found that the architecture inserting conditional vector into the middle layer of the Generator could output multiple artistic images.

Keywords: genetic counseling, FMR1 gene, fragile x-associated primary ovarian insufficiency, premutation

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Authors: Sapfo A. Mortaki

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This article examines the presence of Greek immigrant artists (painters and sculptors) in Paris during 1970-2010. The aim is to highlight their presence in the French capital through archival research in the daily and periodical press as well as present the impact of their artistic activity on the French intellectual life and society. At the same time, their contribution to the development of cultural life in Greece becomes apparent. The integration of those migrant artists into an environment of cultural coexistence and the understanding of the social phenomenon of their migration, in the context of postmodernity, are being investigated. The cultural relations between the two countries are studied in the context of support mechanisms, such as the Greek community, cultural institutions, museums and galleries. The recognition of the Greek artists by the French society and the social dimension in the context of their activity in Paris, are discussed in terms of the assimilation theory. Since the 1970s, and especially since the fall of the dictatorship in Greece, in opposition to the prior situation, artists' contacts with their homeland have been significantly enhanced, with most of them now travelling to Paris, while others work in parallel in both countries. As a result, not only do the stages of the development of their work through their pursuits become visible, but, most importantly, the artistic world becomes informed about the multifaceted expression of art through the succession of various contemporary currents. Thus, the participation of Greek artists in the international cultural landscape is demonstrated.

Keywords: artistic migration, cultural impact, Greek artists, postmodernity, theory of assimilation

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Authors: Bernard Tan

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The paper presents a conceptual framework which serves as an art model of Singapore artistic identity. Specifically, the study examines Singapore's artistic identity through the artworks of the country’s significant artists covering the period 1950s to the present. Literature review will discuss the challenges of favouring or choosing one artist over the other. Methodology provides an overview of the perspectives of local artists and surveys Singapore’s artistic histories through qualitative interviews and case studies. Analysis from qualitative data reveals that producing works of accrued visual significance for the country which captures it zeitgeist further strengthens artist’s artistic identity, and consequently, their works remembered by future generations. The paper presents a conceptual framework for Singapore’s artistic identity by categorising it into distinctive categories or Periods: Colonial Period (pre-1965); Nation Building Period (1965-1988); Globalisation Period (1989-2000); Paternal Production Period (2001-2015); and A New Era (2015-present). Godalisation, coined from God and Globalisation – by artist and art collector, Teng Jee Hum – is a direct reference to the godlike influence on Singapore by its founding Father, Mr Lee Kuan Yew, the country’s first Prime Minister who steered the city state “from Third World to First” for close to half a century, from 1965 to his passing in 2015. A detailed schema showing important factors in different art categories: key global geopolitics, key local social-politics, and significant events will be analysed in depth. Main artist groups or artist initiatives which evolved in Singapore during the different Periods from pre-1965 to the present will be categorized and discussed. Taken as a whole, all these periods collectively add up to the Godalisation Era; impacted by the social-political events and historical period of the nation, and captured through the visual representation of the country’s significant artists in their attempt at either visualizing or mythologizing the Singapore Story. The author posits a co-relation between a nation’s economic success and the value or price appreciation of the country’s artist of significance artworks. The paper posed a rhetorical question: “Which Singapore’s artist will historian of the future – and by extension, the people of the country from future generations – remember? Who will remain popular? Whilst which artists will be forgotten.” The searching question: “Who will survive, be remembered in the annals of history and, above all, how to ensure the survival of one’s nation artistic identity? The art that last will probably be determined by the future, in the future, where art historians pontificate from a later vantage point.

Keywords: artistic identity, art collection, godalisation, singapore

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Authors: Zebiniso Mukhsinova

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This article discusses the dynamics of the historical development of the Bukhara school of copper-stamped products. Copper embossing is one of the leading crafts of Uzbek decorative and applied art. A critical and analytical assessment of innovative ideas, artistic and technological features, which arose as a result of the inter-regional synthesis of a local school, is presented. The article includes a detailed analysis of exhibits in museum collections, a research of the scientific papers of leading art critics and differs from previous studies in this area.

Keywords: applied art, copper embossing, metalwork, ewer, tray, Bukhara school

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Authors: Ahmed Mousa, Huda Mazeed

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The research aims to determine the appropriate songs and artistic indications for the kindergarten child. In addition, it aims to use the songs of folk to develop expressive visual drawings with artistic connotations for the kindergarten child. The current research used a one group semi-experimental approach to identify the impact of songs on expressive children's drawings. The research community is represented in the educational administration in Giza Governorate for the academic year (2018 - 2019). The sample was taken from the kindergarten of Gamal Abdel Nasser School of Dokki Educational Administration in Giza Governorate. The study was applied to the second level children sample (5-6 years), where they numbered 20 children, males and females. The research results show that there are statistically significant differences between the average scores of the children of the experimental group in the pre and post-measurements on the observation card for children after hearing the songs of social and national folk in favor of post measurement. Moreover, the results demonstrate that there are no statistically significant differences between the average scores of children in the experimental group in the measurements, the post and follow-up, on the observation card of children's drawings for social and national folk.

Keywords: folk songs, visual expressive, artistic connotations, early childhood

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Authors: Drago Diaz Aleman, Jose Luis Saorin Perez, Cecile Meier, Itahisa Perez Conesa, Jorge De La Torre Cantero

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Traditional manufacturing techniques used in artistic contexts compete with highly productive and efficient industrial procedures. The craft techniques and associated business models tend to disappear under the pressure of the appearance of mass-produced products that compete in all niche markets, including those traditionally reserved for the work of art. The surplus value derived from the prestige of the author, the exclusivity of the product or the mastery of the artist, do not seem to be sufficient reasons to preserve this productive model. In the last years, the adoption of open source digital manufacturing technologies in small art workshops can favor their permanence by assuming great advantages such as easy accessibility, low cost, and free modification, adapting to specific needs of each workshop. It is possible to use pieces modeled by computer and made with FDM (Fused Deposition Modeling) 3D printers that use PLA (polylactic acid) in the procedures of artistic casting. Models printed by PLA are limited to approximate minimum sizes of 3 cm, and optimal layer height resolution is 0.1 mm. Due to these limitations, it is not the most suitable technology for artistic casting processes of smaller pieces. An alternative to solve size limitation, are printers from the type (SLS) "selective sintering by laser". And other possibility is a laser hardens, by layers, metal powder and called DMLS (Direct Metal Laser Sintering). However, due to its high cost, it is a technology that is difficult to introduce in small artistic foundries. The low-cost DLP (Digital Light Processing) type printers can offer high resolutions for a reasonable cost (around 0.02 mm on the Z axis and 0.04 mm on the X and Y axes), and can print models with castable resins that allow the subsequent direct artistic casting in precious metals or their adaptation to processes such as electroforming. In this work, the design of a DLP 3D printer is detailed, using backlit LCD screens with ultraviolet light. Its development is totally "open source" and is proposed as a kit made up of electronic components, based on Arduino and easy to access mechanical components in the market. The CAD files of its components can be manufactured in low-cost FDM 3D printers. The result is less than 500 Euros, high resolution and open-design with free access that allows not only its manufacture but also its improvement. In future works, we intend to carry out different comparative analyzes, which allow us to accurately estimate the print quality, as well as the real cost of the artistic works made with it.

Keywords: traditional artistic techniques, DLP 3D printer, artistic casting, electroforming

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Authors: Rufat Nuriyev

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Located in the eastern part of the Republic of Azerbaijan and on the western shore of the Caspian Sea, Gobustan National Reserve was inscribed as Gobustan Rock Art Cultural Landscape into the World Heritage List in 2007. Gobustan is an outstanding rock art landscape, where over 6000 rock engravings were found and registered, since the end of Upper Paleolithic up to the Middle Ages. Being a rock art center, the Gobustan seeks to stimulate public awareness and disseminate knowledge of prehistoric art to enrich educational, cultural and artistic communities regionally, nationally and internationally. Due to the Decree of the President of the Republic of Azerbaijan and the “Action Plan” , planned actions started to realize. Some of them implemented before of stipulated date. For the attraction of visitors and improvement of service quality in the museum-reserve, various activities are organized. The building of a new museum center at the foot of the Beyukdash Mountain has been completed in 2011. Main aims of the new museum building and exhibition was to provide better understanding of the importance of this monument for local community, Azerbaijanian culture and the world. In the Petroglyph Museum at Gobustan, digital and traditional media are closely integrated to reveal the complexity of historical, cultural and artistic meaning of prehistoric rock carvings of Gobustan. Alongside with electronic devices, the visitor gets opportunity of direct contact with artifacts and ancient rock carvings.

Keywords: Azerbaijan, Gobustan, rock art, museum

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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: Chi-Ying Yu

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Fashion design is, in fact, an aesthetic inquiry of fabric, style and human body. In recent years, close cooperation between the artistic circles and the fashion world has even brought fashion into the arena of contemporary art. This study offers a case study on the avant-garde fashion designer Alexander McQueen, investigating how he and his brand translate fashion into contemporary art at various levels. Firstly, in terms of his designs themselves, McQueen demonstrates through fashions his declarations on political and gender issues, demonstrating his unique barbarian aesthetics and creating an enchanting sublimity. Secondly, McQueen extends his fashion aesthetics into a cross-disciplinary performing method, and raises catwalk shows to the level of complete artistic experience. Finally, and also most importantly, the brand has been producing fashion movies for its seasonal design series. By means of an abstract, non-narrative visual language, these films essentially transform people’s experience of clothing – from the senses to the pure visual. This is not simply a cross-media artistic practice, but much more fundamentally a discourse on contemporary perceptual experience. From the case of Alexander McQueen, it can be argued that avant-garde fashion has broken through the boundary between design and art, issuing its own art manifesto through the field of art or non-art.

Keywords: Alexander McQueen, avant-garde fashion, contemporary art, fashion film

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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

Abstract:

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: Soumaya Gharssallah Falhi, Houda Kohli Kallel

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This article explores the emergence of prehistoric art within the Homo Sapiens species, highlighting their innovative and pioneering characteristics. It investigates the cultural, artistic, and technological advancements that define this era, aiming to understand the importance of prehistoric art in illuminating the nature of early Homo Sapiens as cultural pioneers. The study employs a qualitative approach, analyzing the connection between prehistoric art and tribal cultures to gain insights into ancient societies. By examining various theories and perspectives on art creation during this period, the research underscores the transformative impact of artistic expression on societal development. Findings reveal that prehistoric art played a significant role in portraying Homo Sapiens as innovative beings, showcasing advancements in cultural, artistic, and technological domains. It emphasizes the enduring legacy of ancient art forms in shaping modern societal norms and values. Through data gathered from archaeological findings, literary sources, and expert opinions, the study contributes to the theoretical understanding of prehistoric art as a reflection of early human societies' mindset and way of life. Overall, this research highlights the pivotal role of prehistoric art in cultural evolution and emphasizes its relevance in contemporary understandings of human creativity and progress.

Keywords: Homo sapiens, prehistoric art, cave art, the old stone age (paleolithic era)

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Authors: Carolina Brandão Piva

Abstract:

In our visual culture, images play a newly significant role in the basis of a complex dialogue between imagination, creativity, and social practice. Insofar as imagination has broken out of the 'special expressive space of art' to become a part of the quotidian mental work of ordinary people, it is pertinent to recognize that visual representation can no longer be assumed as if in a domain detached from everyday life or exclusively 'centered' within the limited frame of 'art history.' The approach of Visual Culture as a field of study is, in this sense, indispensable to comprehend that not only 'the image,' but also 'the imagined' and 'the imaginary' are produced in the plurality of social interactions; crucial enough, this assertion directs us to something new in contemporary cultural processes, namely both imagination and image production constitute a social practice. This paper starts off with this approach and seeks to examine the artistic practice of two women from the State of Goiás, Brazil, who are ordinary citizens with their daily activities and narratives but also dedicated to visuality production. With no formal training from art schools, branded or otherwise, Maria Aparecida de Souza Pires deploys 'waste disposal' of daily life—from car tires to old work clothes—as a trampoline for art; also adept at sourcing raw materials collected from her surroundings, she manipulates raw hewn wood, tree trunks, plant life, and various other pieces she collects from nature giving them new meaning and possibility. Hilda Freire works with sculptures in clay using different scales and styles; her art focuses on representations of women and pays homage to unprivileged groups such as the practitioners of African-Brazilian religions, blue-collar workers, poor live-in housekeepers, and so forth. Although they have never been acknowledged by any mainstream art institution in Brazil, whose 'criterion of value' still favors formally trained artists, Maria Aparecida de Souza Pires, and Hilda Freire have produced visualities that instigate 'new ways of seeing,' meriting cultural significance in many ways. Their artworks neither descend from a 'traditional' medium nor depend on 'canonical viewing settings' of visual representation; rather, they consist in producing relationships with the world which do not result in 'seeing more,' but 'at least differently.' From this perspective, the paper finally demonstrates that grouping this kind of artistic production under the label of 'mere craft' has much more to do with who is privileged within the fields of power in art system, who we see and who we do not see, and whose imagination of what is fed by which visual images in Brazilian contemporary society.

Keywords: visual culture, artistic practice, women's art in the Brazilian State of Goiás, Maria Aparecida de Souza Pires, Hilda Freire

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