Master’s Photo art Project Hen Party

The ethnic composition of a population is a characteristic of society that is constantly changing. Variables include indicators of natural and mechanical movement of ethnic groups, as well as ethnic processes caused by a whole range of complex socio-economic phenomena that affect the dynamics of the number of ethnic groups and the ethnic structure of the population of the territory. In the Ternopil region, the latter, in turn, were dictated by the peculiarities of the socio-political status of the territory, which for several centuries was in colonial dependence on the metropolitan states. The socio-economic background, which provided certain advantages in economic life, has been an important factor in immigration to our region since the times of Kyivan Rus and the Principality of Galicia-Volhynia. Encouraged by large land allotments and tax exemptions, Germans, Greeks, Hungarians, Armenians, Czechs, and Vlachs chose to settle in the region, which only slightly changed the ethnic structure of the region's population. The announcement of the so-called freedoms, according to which the population was exempt from taxes for several years, stimulated the colonization of Galicia during the Turkish-Tatar invasion. The intensity of such migrations increased significantly as the Tatars retreated and weakened during their offensives. The political expansion of lands as a result of the loss of their own statehood determined the primacy of the economic interests of empires. As the imperial power advanced, so did colonization, which in the fourteenth and fifteenth centuries was of a Polish nature. To ensure state colonization, Polish kings distributed land. Cities were especially actively colonized. The socio-economic conditions in the rural areas of the region were determined by the process of enslavement and increased feudal exploitation, which led to the migration of peasants, which affected not only the total population of the region, but also changed its ethnic structure and geographical location. The period of the Ukrainian National Liberation War and new Tatar attacks not only restrained foreign colonization of the region, but also led to the outflow of artisans and merchants and the decline of settlements. The merchants who dared to come to the region in the late seventeenth century were Jews fleeing persecution in European countries. After the capture of eastern Galicia by Austria, Polish colonization was replaced by German colonization. The numerical growth of the foreign-speaking population in the region was not accompanied by mass emigration of the Ukrainian population until the mid-nineteenth century. Until then, the migration component was limited to the flight of peasants to the Zaporozhian Sich, Bessarabia, Zakarpattia, Bukovyna, and Podillia, and the proletarianization of a small part of them. After the abolition of serfdom in 1848 in the Habsburg monarchy and in 1861 in lands under Russian rule in the Ternopil region, impoverished segments of the population joined the ranks of economic migrants. Until the twenties of the twentieth century, the bulk of labor migrants came from European countries (Great Britain, Germany, France), but later - from overseas countries (USA, Canada, Brazil). The formation of the national composition of the population of the Ternopil region after World War I was determined by two oppositely directed processes. The instability of the political situation in the face of growing economic decline prompted poor and destitute Ukrainian peasants to leave. In contrast to the Ukrainian emigration of this period, it was mainly Polish immigrants, the so-called Osadnyky, who immigrated to the Ternopil region. In the early thirties of the twentieth century, collectivization, including among Russian and Polish peasants, was a significant factor in rural emigration from the USSR. The inclusion of the region into the Ukrainian SSR and the USSR affected the ethnic composition of the population, but the factors that changed it were vocational training, encouragement of Ukrainian youth to work in new construction projects (BAM, Kuzbass, etc.), and the development of so-called virgin lands. These losses were compensated for by the migration of the population of the Soviet republics, primarily Russians, to the region to rebuild the national economy. After the declaration of Ukraine's independence and until the end of the twentieth century, changes in the ethnic composition of the population of Ternopil Oblast were largely caused by migration, the direction and intensity of which was increasingly influenced by economic factors. The sharp decline in the standard of living and quality of life and the inability to find work have generated strong emigration movements among different ethnic groups, but most of all among Ukrainians. In general, it can be stated that the dynamics of the ethnic composition of the population is determined by socio-economic factors, which are inextricably linked to urbanization processes. The status of urban settlements significantly depended on periods of economic growth and decline. They developed rapidly in the fifteenth and sixteenth centuries, when trade was actively developing. Keywords: economic benefits, political status of the territory, immigration, emigration, colonization, urbanization.

The paper represents an attempt at a cultural and chronological attribution of the glass vessel found in the vicinity of the village of Bilche-Zolote in Ternopil region. The cup was purchased from local residents by Princess Teresa Sapieha around the turn of the 20th century. Information about the find was first published by V. Demetrykiewicz in 1904. Later, in his list of Roman imports H.-J. Eggers designated the vessel from BilcheZolote as variant b of Eggers type 188; this type also includes finds from Bugno (variant c) and Linowiec (variant a) in the north of today’s Poland. The typological connection between the beakers from Bilche-Zolote and Linowiec was also noted by A. T. Braichevska (Smilenko), who was one of the first researchers to include the find from Ternopil region among the Chernyakhiv artifacts of Roman origin. Given the dating of the Linowiec vessel, she proposed to assign the beaker from Bilche-Zolote to the 3rd century. This cultural attribution remained widely accepted in historiography for several decades. Today, the dating of the vessel from Bilche-Zolote may be seen as one of the main arguments against such an interpretation. Its closest equivalents are beakers of Eggers type 188a. They are mainly known from the Wielbark culture of the lower Vistula, where their presence is localized in the last third of the 2nd and first third of the 3rd centuries. Their origin is obviously connected with the northwestern provinces of the Roman Empire. The period of their circulation in the Barbaricum precedes the formation of the Chernyakhiv culture, which began no earlier than the second third of the 3rd century. Given the localization of the various cultural groups of the period from the last third of the 2nd to first third of the 3rd centuries in the upper Dniester region, we may suppose that the Bilche-Zolote vessel could be contextually connected to the sites of the Przeworsk or Lypytsya cultures in the area. If so, the glass beaker may have reached the upper Dniester via the northern route, through the mediation of the Wielbark and Przeworsk cultures.

The author’s idea for the Master’s photo art project was to create a photo project about the elderly who are over 80 years old. It was based on the desire to reveal the inner world and life experience of the elderly. The photo project reflects not only the external beauty of the aged but also the deep emotions captured in the eyes and expressions of the characters. The series consists of portraits of both men and women that become a kind of story, telling the story of the courage, resilience and inner strength of those who witnessed the remarkable historical events over many decades. These photographs, which convey expressive emotions of pain and fatigue, try not only to capture the physical appearance of the heroes but also to convey their experience, courage and unwavering belief in peace and justice, even in the most challenging times for Ukraine. Through the details on the faces, one can feel the deep emotional grief and the burden of life experiences placed on these people’s shoulders over the years. The eyes are the centrepiece of the photographs and attract special attention. They are imbued with pain and sadness from having to relive the war period. The deep wrinkles around the eyes add to the intense expressiveness, showing that time has taken its toll and left its marks on the faces. The sad eyes and closed lips express fatigue and exhaustion, indicating the burden of the years behind the characters. Some of them still have hope for liberation from physical or emotional suffering, while others are depressed and hopeless.

According to the characteristics of traditional clothing, clothing identification is studied, and clothing identification and clothing culture learning are effectively combined to find a new method for the inheritance of national culture and strive to make contributions to the inheritance of national culture. According to the requirement of the traditional garment identification watermark monitoring system, a self-synchronous digital watermarking algorithm is designed and implemented. Watermark is embedded in the time domain, and feature information is extracted from traditional clothing by means of mean filtering and replaced by watermark to achieve the purpose of embedding information. Blind detection is realized without the participation of the original image. The difference between the traditional costume embedded with watermark and the original traditional costume is almost imperceptible. It can effectively resist synchronous attacks including clipping and time shifting, showing good robustness. Imperceptibility and robustness can be adjusted freely by embedding strength. The HOG + SVM algorithm is applied to minority clothing classification and recognition. By comparing different classifiers, it is concluded that the classifier trained by the support vector machine algorithm has the best classification effect on ethnic clothing. In order to improve the classification effect, the classical algorithm of color, texture, and shape feature extraction was combined with SVM to conduct experiments on the clothing database collected and sorted out in Yunnan ethnic minority communities, and finally, we verified that the HOG feature combined with the SVM classification algorithm achieved good results in the classification of ethnic clothing.

Reviewed by: Dissensual Subjects: Memory, Human Rights, and Postdictatorship in Argentina, Brazil, and Uruguay by Andrew C. Rajca Adolfo Bejar Dissensual Subjects: Memory, Human Rights, and Postdictatorship in Argentina, Brazil, and Uruguay Northwestern UP, 2018 by Andrew C. Rajca Andrew C. Rajca's Dissensual Subjects advances the "ethical fusion" of memory and human rights and the "non-subject of nunca más/nunca mais" to grapple with contemporary debates about liberal humanitarianism and political subjectivity in Latin America. Through a close reading of the nunca más/nunca mais reports, as well as analyses of numerous works by Latin American artists, this book illustrates how memory and human rights function as modes of representation that suture the subject of rights to hegemonic political subjectivities (the heroes and victims of the dictatorships—desaparecidos and militants), eliding the economic and social rights of historically marginalized populations in Latin America. The book is comprised of four chapters and an introduction. In the introduction, Rajca outlines and discusses key debates on human rights and memory in Latin America and advances a theoretical elaboration of what he calls the "ethical fusion" of memory and human rights in post-dictatorship contexts in order to propose the notion of the non-subject of human rights. Chapter one advances a close reading of the nunca más/nunca mais reports from Argentina, Brazil, and Uruguay, reflecting upon the foundational relationship between the concept of the subject of rights and liberal humanitarianism. Chapters two through four analyze Brazil's "Memorial da resistência," Uruguay's "Centro cultural y museo de la memoria," and Argentina's "Espacio para la memoria y la promoción y defensa de los derechos humanos," arguing, on the one hand, that the permanent installations in all three sites reproduce hegemonic political subjectivities (heroes and victims) and, on the other, that some of the temporary installations in all three sites offer the potential to think beyond the "ethical fusion" between memory and human rights, making visible the exclusion of historically marginalized populations from the discourses of liberal humanitarianism and opening the field of signification to non-hegemonic political subjectivities. This book's key contribution is the elaboration of dissensual political subjectivations at work within and through the tensions between politics and aesthetics at sites of memory throughout Latin America's southern cone. Departing from a humanitarian notion of ethics, Rajca emphasizes the crucial significance of engaging in a critique of liberal humanitarianism discourse in order to "recuperate a space of political subjectivation in postdictatorship studies in ways that move beyond the ethical demand [End Page 312] of … never again" (20). Rajca here enlists the work of Jacques Rancière as the means to fashion a notion of dissensus that foregrounds moments of political subjectivation "where uncounted subjects of human rights and memory can rearticulate unqualified notions of victim, justice, and inequality in postdictatorship" (ibid). Given this more compelling notion of the (non)subject of rights, Rajca then advances the tension between politics and aesthetics as a means to critically engage with sites of memory as spaces that offer the possibility "to explore the heterogeneous relationship between politics and art to trace previously invisible processes of political subjectivation in contemporary social discourse" (29). Rajca, for instance, argues that it is through temporary photography installations—such as the work of Sub (coperativa de fotógrafos)—that we can begin to challenge the ethical fusion between memory and human rights in order to open spaces for subjectivation for the "nonheroes and nonvictims" of the dictatorships. For Rajca, the aesthetic intervention of Sub's work, specifically its photography series on the "Villas Miseria" in Argentina, allows us to understand "The discourses of memory and human rights [as] complementary, not coextensive," this, in turn, opens the possibility of "making visible a claim for social equality and economic justice by subjects excluded from consensual notions of rights" (193). In this sense, the tension between politics and aesthetics in artistic projects such as Sub's is indexed as the primary movement to "reopen the processes of political subjectivation as practiced thought, exceeding the institutionalized sites into which they are inscribed, thus creating a dissensual cut where anonymous, nonethical human rights subjectivities become visible...

LOS/LOSS/LOST explores how memory and architectural conservation are played out in Los Angeles. Structuring the text is a series of photographs taken by the artist of thirteen historical buildings designated ‘lost’ by the Los Angeles Conservancy. Writing embraces the motif of ‘lostness’ in biographical, artistic, literary and cinematic responses to the city. The essay attempts to parallel a longitudinal artistic project photographing former cultural monuments of the German Democratic Republic.

The Japanese Aesthetics concept is a blend of traditions, beliefs, and nature. This research was conducting by studying literature and the collected was analyzed by using interpretation method. The result of the study that the starting point of the Japanese Aesthetics is nature. Japanese believe that daily natural phenomenon such as sun, moon, mountain, water fail, and trees is believed to have or souls "kami". The nature is not only the place where masters strengthen receive the spirit and the meaning of life. The existing religion belief of Japanese (Shinto and Budha) provide the drive for their followers to be closer to the nature. According to the Shinto belief, the nature is full of the souls of human predecessors that there are an obligation to conservate the nature and to keep it in a harmony. It is proven by Japanese deep loving emotion and understanding of seasonal changes. Budhist beliefs spreads out in Japan with special characteristic wllkwon as Budhist Zen. Budhist Zen results in Japanese customs and traditions such as the ceremony of tea drinking considered to be sacred just in the sam cultural position as another religious rituals. The influence of the Budhist Zen in military area enables the new cultural group called Samurai to emerg in the spirit Bushido. The Samurai group is symbolized with Sakura flowers (the most beautiful flowers in Japan) willing to early die in the devotion for their king. The Japanese artistic works are naturalistic (resembling nature). Thus, Japanese always want to be close to nature and to live in a harmony with the nature.

The author describes an artistic project, the objective of which is to recreate Pre-Columbian patterns and objects and give them new meaning using computer image generation techniques. The results are presented in various techniques and formats, including a series of computer-generated photographs, prints and interactive stations.

The Night Albums: Visibility and the Ephemeral Photograph

The purpose of the article is to highlight the peculiarities of the paintings of the amateur artist of the period of socialist realism Mykola Bezdilny and to draw parallels with the professional art of the 1970s and 1980s. Methodology. Methods of systematization, art analysis, historical and comparative methods are applied. The scientific novelty is to identify the influence of centralized creative structures of the second half of the twentieth century for the self-realization of artists who acquired creative skills in their own way. In particular, the figure of the artist Mykola Bezdilny was chosen for the analysis as a bright representative of the amateur Ternopil region, who showed the ability to admire not only different genres and types of fine arts but also constantly analyze other interpretations of the painting, "try", "move" in technical and philosophical and aesthetic terms. The obtained results are important for further research of the problems of amateur and amateur fine arts in Ukraine. Conclusions. It is determined that M. Bezdilny, as a bright representative of socialist-realist amateur art, reached a high level of painting due to systematic work and interaction with professional painting. It focused on the true essence of the work, its depth, the transfer of harmony of nature, rather than the external beauty of the picture. Against the background of features that are characteristic of the work of many amateur artists and amateurs revealed a clear tendency of M. Bezdilny to his favorite plot, composition, constant change of sound of paint, attempts at impressionistic dynamic brushstroke, and complex color.

'Malysse, o antropólogo-travesti' é um projeto artístico que nasce de minha prática como antropólogo. Comecei a colecionar roupas étnicas em uma viagem ao Peru em 2010, numa espécie de extensão de meu trabalho como professor de antropologia da Universidade de São Paulo e do curso de etnografia têxtil, que tratava dos aspectos culturais da vestimenta, olhando para as modas não-ocidentais desde uma vertente etnográfica. Foi diante destas modas de alhures – exóticas e acessíveis, estranhas e vestíveis – que me ocorreu me trasvestir; me tornar um travesti transcultural...

This paper studies some pieces of male clothing from Canari Indians, Ecuador, with special mentions to embroidery techniques, designs, and colors of decorative elements. Pieces are described, and related to the use of ethnic clothing as an element of cultural differentiation in modern society.

No sex please: we're scientists

With this Open Call "Exploring Contemporary Realities", we launch the annual major theme of interest for scopio Magazine AAI -Exploring Contemporary Realities, Volume 2, and initiate a new collaboration with the project Contrast: Multidisciplinary network of artistic initiatives in Art, Architecture, Design and Photography through SCOPIO & CONTRAST International Conference. The call will have as responsible Editors academics / artists coming from both scopio Magazine AAI and the Contrast project. This editorial team will ensure the necessary peer review work through the U. Porto OJS platform. scopio Magazine AAI will be, in this way, the official publishing academic periodical for International Conference SCOPIO & CONTRAST and the submissions are both for the Conference and its 2nd volume in partnership with Contrast addressing the theme Exploring Contemporary Realities. This academic periodical transitioning to continuous publication to better align with the dynamics of Open Access electronic publishing, moving away from the constraints of its previous model geared towards traditional print formats. This shift aims to expedite the dissemination of research to the community, offering immediate benefits to both readers and authors by ensuring quicker access to new findings. The adoption of a continuous publication strategy enhances the open review process by reducing the time from submission to publication and by boosting the visibility of individual contributions, thus fostering greater engagement and dissemination within the scholarly community.

'The Visual Spaces of Change' (VSC) section emphasises the role of photography and various visual representation methods as pivotal in researching, documenting, and analysing the transformational aspects of architecture, urbanity, and territorial landscapes. This section acknowledges the intricate link between societal transformations and alterations in the spaces we inhabit, with recent historical events underscoring the swiftness of these spatial changes. The radical nature of these transformations has necessitated a consistent and urgent documentation of the impermanent nature of places. Places, inherently uncertain, are captured visually to preserve and understand their essence. Contemporary societal shifts, such as urban gentrification or health-related crises, have brought about significant changes in life patterns, leading to the creation of photographs that were once unimaginable. The VSC resides here, in documentary artistic projects that explore the expanded field of architecture, from its tangible manifestation to the experiences it fosters. It investigates various scales, new spatial configurations, architectural vernaculars, and urban vistas, while also probing into the discursive spaces that intersect with larger frameworks, including socio-cultural, political, historical, and technical realms.
 By treating images as a form of visual language that is disseminated and interpreted across different global points[1], this section extends its dialogue. It opens up to incorporate diverse cultural viewpoints from various regions, places, and countries, using the specificities of each location to enhance our understanding of society and the territorial landscape. The strategy's objective is to promote the use of images in constructing artistic projects that offer critical reflections on the transformation of architecture and urban landscapes, influenced by the diverse ways they are perceived and experienced. Ultimately, the section seeks to utilise the contemporary significance of imagery, particularly photography, as a means to broaden knowledge. Photography is esteemed as a prime medium for interpreting architecture and for crafting imaginative narratives, navigating between reality and fiction, replication and alteration, and the amalgamation of analogue and digital visual forms, thus traversing various disciplines and blurring artistic demarcations.
 The section commences with James Smith's visual essay "Temporal Dislocation", which explores the contrasting interplay between destruction and regeneration in our interactions with landscapes. Smith's photographic series highlights the recurring patterns of the natural world following human interference, driven by a profound phenomenological perspective. The series bridges the intentional composition by the photographer and the incidental engagement of the viewer with these reconfigured landscapes, positioning the photograph as a subtle form of communication that invites reevaluation of the common and omnipresent.
 "Urban Wilderness: A Journey through Lisbon Terrain Vague" by Lorenzo Iannizzotto focuses on the piecemeal and indeterminate nature of the so-called "Terrain Vague" or "Urban Voids" in Lisbon. Iannizzotto employs photography as a means to explore and articulate these spaces, presenting them in a fragmented and sporadic fashion that honours their intrinsic features. His work uncovers the latent charm of these spaces, highlighting their considerable potential for urban development.