Artistic Production Research Articles

Creative practice, entanglements and complex emergence: Teaching in the arts

Creative practice inspires exploration, personal expression, and learning, and can be understood from a variety of perspectives. Traditionally, these perspectives have been through the process of learning where doing is important, and through the product of learning where practice has outcomes serving a diversity of purposes. In recognising these critical links between practice and learning, we consider this entanglement of process and product through complexity theory as more than binary opposites where the key ideas of ‘knower and knowledge’ helps to untangle a multiplicity of understandings. Identifying complexity practice as developmental, transactional, and organisational, we outline how in Australia, this complexity produces tension in schools as teachers grapple with developing arts process skills as a significant achievement themselves, the production of arts works as important outcomes of arts learning, and broader social outcomes as elements of change. In helping to make these interactions clear it is possible to see complexity as both enabling and constraining change, providing direction and focus for future creative practice in both teaching and learning.

Comprehensive Evaluation of EGM and Fuzzy TOPSIS-IPA: A Case Study of the Aesthetic Preference of Landscape Paintings from the Taiwan Region

This paper presents a comprehensive evaluation of EGM and fuzzy TOPSIS-IPA. The Evaluation Grid Method (EGM) of Miryoku Engineering was applied to study the aesthetic cognitive preferences of landscape paintings from the Taiwan region. This paper also summarizes the different aspects of the aesthetic literacy of people from the Taiwan region and proposes the attractive factors of paintings. Besides, the golden ratio scale semantics, that is, the traditional subjective consciousness model was replaced with the equal-ratio aesthetic scale semantics, and fuzzy satisfaction and importance were used as the basis for evaluation. Fuzzy Importance-Performance Analysis (IPA) was used to understand the public’s views on landscape paintings from the Taiwan region. The fuzzy Technique for Order Preference by Similarity to Ideal Solution (TOPSIS) method is used to rank affordable objects according to their proximity to the ideal target, evaluate their relative merits, and analyze the public's preferences and evaluation criteria. This study aimed to better understand the Taiwan region’s people’s awareness and aesthetic literacy of paintings, while also providing a reference for subsequent researchers and popularizing artistic products.

Performing the self in contemporary rural China: voice from a villager

ABSTRACT This paper provides the voice from a villager who participates in the art-led rural reconstruction in southwest China, and in so doing, to highlight the contemporary vernacular creativity embodied by villagers participating in art. Existing studies tend to understand villagers as merely responsive agents of the state-led or artist-initiated artistic practices, overlooking the inherent agency of villagers in artistic production. Drawing on the individualization thesis in Chinese society, this paper examines the project Yangdeng Art Cooperative in the rural area of Guizhou Province, China with a special focus on the individual perspective of villager Linghu. Findings show how Linghu's quest for self-identity infiltrates the collaborative practices with artists and gives rise to the autobiographic performance that is characterized by everydayness, improvisation, and relationality. Autobiographic performance of Linghu demonstrates an endogenous approach to artistic production and further concretizes a hybrid rurality that is always ongoing.

Memorability of Romanian dissidence: Ordinary people, secret files and artistic remediations

The article explores the conditions necessary for a narrative recounting of past events to become memorable and incorporated into collective memory. The analysis is focused on the role played by artistic remediations in creating such memorability. In Romania, as well as in other East Central European countries, the production of memorability and the management of the resulting collective memories are interlinked with the narratives of communism that dominate the memorialisation of the recent past. The article reviews several examples of acts of dissent, based on their representativeness and the existing literature, and question the memorability of dissident acts by considering the memory discourse on communism and the involvement of different agents of memory. It also interrogates the use of the Romanian secret police (Securitate) files in artistic productions, examining this acknowledgement of the role played by the Securitate in creating the narratives of the communist past. Two artistic productions based on reworkings of the Securitate files are analysed: a documentary theatre play staged by Gianina Cărbunariu, Uppercase Print (2013), and Radu Jude’s 2020 film of the same title, both presenting the story of Mugur Călinescu. The article argues that these productions question mainstream frames of memory by revisiting the narratives and biographies created by the Securitate files and give new, artistically mediated voices to victims, perpetrators and collaborators.

Microanalytical investigation of brazilian coat of arms paintings on paper

Heraldry in Latin American art of the twentieth century can be considered rare. In this context, the material composition of coat of arms paintings on paper attributed to the Brazilian painter José Wasth Rodrigues is investigated for the first time using a microanalytical approach. Microsamples from 5 municipal coats of arms dated 1932 were analysed using Raman microscopy, Attenuated Total Reflection Fourier Transform Infrared spectroscopy (ATR-FTIR), and Scanning Electron Microscopy with Energy Dispersive Spectroscopy (SEM-EDS). SEM-EDS results revealed the artist's choice of using metallic aluminium and brass in the representation of silver and gold colours, respectively. Raman microscopy analyses showed the use of traditional inorganic pigments, such as ultramarine blue, indigo, Prussian blue, yellow chromates and vermillion. In contrast, the results showed that the painting with an unusual signature attributed to the artist (W. instead of J.W.R, commonly found) contains synthetic organic dyes Orange 5, Red 53, and Yellow 1 (introduced in the 1900s). This discovery raised hypothesis of questioning authorship for this particular painting. ATR-FTIR analysis of a paint fragment from one painting confirmed the use of gum arabic as a binder. ATR-FTIR analyses of efflorescences collected from a blue paint layer of a particular coat of arms suggest protein and lipid content, raising suspicion of either the use of the tempera technique in this particular paint or remains of a past microorganism activity. Robust information was obtained on the chemical characterization of the coat of arms, enhancing comprehension of the painting techniques employed by the artist and providing insight into the production of heraldic art in Brazil at the beginning of the 20th-century.

Ecommerce Site for Artisans with AI Assistance

India, a country of great cultural heritage and India’s cultural diversity in the form of art and craft products provides plenty of opportunities to the local artists. In today's world, most people are using technology for leading their lives and fulfilling their daily needs. In this generation most of us are using E-commerce websites for shopping clothes, groceries, and electronics. We will be developing one E commerce web application by using MERN stack technology. This application will be fully functional with different views for user and admin and it will also be integrated with payment gateway for checkout. Epicraft website aims to help creative entrepreneurs of handloom and handicraft sector

GRAFFTI ART AND TUNÇ DİNDAŞ İN THE LIGHT OF TECHNOLOGY

Writing and language in the past are at the forefront of people's self-expression and communication methods. It can be considered as an important communication tool, one of the four main elements of hip-hop culture. Graffiti is a wall art that is written, drawn or sprayed. Along with technology, the boundaries of art began to expand, and works of art in virtual universes emerged in contemporary art. Graffiti, which is an artistic production area, has also turned into a new art platform. In the traditional graffiti understanding; Instead of using marker pens or spray paint on the walls, it has become possible to make drawings digitally without risk. However, the technological possibilities provided in the art of digital graffiti can also bring about deficiencies such as reducing the amount of physical and emotional experiences and depriving the experience of living. In this context, an interview was held with Tunç Dindaş, one of the graffiti artists, in order to determine the graffiti artists' approaches to technology and their usage purposes. Tunç Dindaş, nicknamed "Turbo", one of the artists who made a name for himself in the graffiti world, shapes his worksis shaped around Turkish culture and Istanbul. The artist, who prefers technological tools in the production process of his works, continues to expand his traditional work area in the name of real graffiti production. In the research, graffiti art and its interaction with technology; A general evaluation was made by trying to reveal the art of graffiti, the artist's approach to technology, and the intellectual infrastructure of his works, based on what Tunç Dindaş narrated.

Evaluating the Evidence for Lunar Calendars in Upper Palaeolithic Parietal Art

In this paper, we examine the lunar calendar interpretation to evaluate whether it is a viable explanation for the production of Upper Palaeolithic parietal art. We consider in detail the history of this approach, focusing on recently published variations on this interpretation. We then discuss the scientific method and whether these recent studies are designed to address the research questions necessary to test a lunar calendar hypothesis. More broadly, we explore challenges related to inferring meaning in art of the deep past, the use of secondary sources and selecting appropriate ethnographic analogies. Finally, we assess claims that the lunar calendar interpretation documents the world's oldest (proto)writing system. We conclude that the lunar calendar interpretation as currently construed suffers from multiple theoretical and methodological weaknesses preventing it from being a viable explanation for the production of Upper Palaeolithic art. We further find that claims following from this interpretation to have discovered the oldest known (proto)writing system are unsubstantiated.

Separate elements of the criminal characteristics of criminal offenses related to illegal drug trafficking

The article is devoted to certain elements of the forensic characteristics of criminal offenses related to illegal drug trafficking. It is noted that over the past 2 years, the number of criminal offenses investigated by us has significantly increased, which requires science and practice to develop new approaches to pre- trial investigation, including forensic characterization. The main elements of the forensic characterization of criminal offenses related to drug trafficking will be: the method of the crime, the object of the criminal offense, the identity of the criminal and typical traces.
 It has been established that the methods of committing these criminal offenses include: movement of narcotic drugs, psychotropic substances, their analogues or precursors across the customs border of Ukraine outside of customs control or with concealment from customs control; the use of funds obtained from the illegal circulation of narcotic drugs, psychotropic substances, their analogues, precursors, poisonous or potent substances or poisonous or potent medicines for the purpose of continuing the illegal circulation of narcotic drugs, psychotropic substances, their analogues, precursors, poisonous or potent substances or poisonous or strong medicines; illegal production, manufacture, acquisition, storage, transportation or forwarding of narcotic drugs, psychotropic substances or their analogues; appropriation, extortion, narcotics, psychotropic substances; illegal sowing or cultivation of hypnotic poppy; illegal introduction of narcotic drugs, psychotropic substances or their analogues into the body; tendency to use narcotic drugs, psychotropic substances or their analogues, etc.
 It was concluded that groups of traces of drug production, storage, consumption, and others allow for differentiated examination and effective response to various aspects of drug crime. And the detection of equipment, process materials, final product and other elements related to the manufacture of drugs becomes an important step in uncovering and stopping the activities of drug traffickers. Some traces, such as odor and microparticles, can remain with artisanal production, providing additional opportunities for detection and apprehension of criminals.

Smoked meat and tradition: Popularity, notoriety, and quality perception

Debate about artisanal products has been on the rise, stemming from initiatives that seek to preserve local food traditions, while dealing with health concerns. In Brazil, smoked meat (Portuguese: carne de fumeiro) is a kind of smoked pork, typical in the town of Maragogipe, in the Northeastern state of Bahia, also popular in other regions. The objective of this study was to understand the popularity and notoriety of smoked meat, as well as the perception of sanitary quality, from the consumers’ perspective and practices. A descriptive study was carried out, which involved consumers residing in municipalities in Bahia, with data collection through an online questionnaire and data treatment by descriptive statistics and association tests. 378 consumers participated in the study, of which 48% purchased the product in supermarkets, highlighting flavor/aroma (25.7%) as the factor that most influenced the choice. As for consumption practices, participants reported consuming this meat at home or in bars and restaurants, the main ways of preparing it being fried (36.9%), roasted (22.5%) or as an ingredient in preparations (22.4%) such as farofa, feijoada and puree. Despite its popularity, 40.2% indicated that the product could pose some risk to health, with an association with the need for labeling (p < 0.027), as a way of guaranteeing the identification of origin, shelf life and inspection of the product. Participants also mentioned the possibility of risks present in meat, such as bacteria (30%) and chemical substances (20.1%). The findings show the popularity of smoked meat, expressing its potential as a geographical indication, while pointing out to the perception of sanitary risks, signaling the need for regulation and quality control, aiming to promote its notoriety and market expansion.

Guidelines for art-based interventions in parental training

Art-based parental training involves engaging the parents in creative processes and the observation of their art products. The current paper presents guidelines for art-based parental training, based on the assumption that the encounter between the world of art and the world of therapy creates a rich triangular relationship between therapist, parent, and artwork. Semi-structured interviews were conducted with 15 art therapists who described their experiences and the interventions they have developed for parents. The findings show how these interventions can be applied in clinical settings and how these art therapists see the impact of these art-based interventions on the therapeutic process. Most therapists believe that encouraging parents to create spontaneously and authentically in a suitable environment that contains a range of art materials for painting and sculpture can support the initiation of emotional communication on the part of the parents with themselves, their partner, and their child. In this type of therapy, the parents’ responses and the creative product are primordial since they are considered to reflect the parents’ development, personal skills, fields of interest, concerns, and difficulties. The guidelines are derived from these findings.

The Discourse of “National Art” in Colombia

Through the analysis of three different discourses on “national art” this paper argues that the latter has functioned as an underlying discourse and played a constant and significant role in defining much of artistic production in Colombia and the debates around it. Within this framework I examine the tension between modernity and modernization that comes into view, for example, in the controversy that took place during the last century between the modernist proposals of the Bachué group, which were anti-academic and expressionist, and the attempt at modernization promoted by figures like Marta Traba, with her “updating” campaign, and Eugenio Barney with his theory of transculturation. My hypothesis is that this tension reaches a synthesis in the plastic and conceptual work of Antonio Caro, which addressed the national public. The preceding movements find their synthesis and take a qualitative leap in Caro’s interpretation of the life and work of Manuel Quintín Lame.

Creative ML Assemblages: The Interactive Politics of People, Processes, and Products

Creative ML tools are collaborative systems that afford artistic creativity through their myriad interactive relationships. We propose using "assemblage thinking" to support analyses of creative ML by approaching it as a system in which the elements of people, organizations, culture, practices, and technology constantly influence each other. We model these interactions as "coordinating elements" that give rise to the social and political characteristics of a particular creative ML context, and call attention to three dynamic elements of creative ML whose interactions provide unique context for the social impact a particular system has: people, creative processes, and products. As creative assemblages are highly contextual, we present these as analytical concepts that computing researchers can adapt to better understand the functioning of a particular system or phenomena and identify intervention points to foster desired change. This paper contributes to theorizing interactions with AI in the context of art, and how these interactions shape the production of algorithmic art.

AMSD: The Australian Message Stick Database.

Message sticks are wooden objects once widely used in Indigenous Australia for facilitating important long-distance communications. Within this tradition an individual wishing to send a message would carve a stick and apply conventional symbols to its surface. The stick was entrusted to a messenger who carried the object into the territory of another community together with a memorised oral statement. Between the 1880s and the 1910s, settlers and international scholars took great interest in message sticks and this was reflected in efforts to document, collect and store them in museums worldwide. However, by this period, the practice was already undergoing profound changes, having been abandoned in many parts of the continent and transformed in others. While message sticks were still being used in a traditional way in Western Arnhem Land up until at least the late 1970s, today they feature in public interactions between Indigenous and non-Indigenous organisations, in art production and in oral narrations. Accordingly many questions concerning the history, pragmatics and global significance of message stick communication remain unanswered. To address this we have compiled the Australian Message Stick Database, a new resource hosted at the Max Planck Institute for Evolutionary Anthropology, Leipzig, and The Australian National University, Canberra. It contains images and data for over 1500 individual message sticks sourced from museums, and supplemented with information derived from published and unpublished manuscripts, private collections, and from field recordings involving contemporary Indigenous consultants. For the first time, knowledge about Australian message sticks can be evaluated as a single set allowing scholars and Traditional Owners to explore previously intractable questions about their histories, meanings and purposes.

FREQUENCY, PHASES AND CHRONOLOGY OF ROCK ART: SPATIOTEMPORAL STUDIES OF THE ALTA ROCK CARVINGS, NORTHERNMOST EUROPE

SummaryThe rock art of Alta, comprising more than 7000 rock carvings, is dated by shoreline chronology. It is unparalleled in Europe. The well‐dated rock carvings make the material suitable for a temporal study of the rock art and the frequency of rock art production over c.5500 years. Based on new detailed elevation measurements performed by Alta Museum of the 92 panels with rock art and individual measurements of a total of 442 individual figures it is possible to discuss the temporal and spatial distribution of the rock art in Alta in detail. This up‐to‐date study shows that the rock art in Alta was made between c.5300 BC and AD 100 (6300–1900 BP). This raises the question whether the rock art record represents an even production of figures, accumulated gradually over more than five millennia, or whether there were more intensive phases of activity in the Alta area. Further, were all main areas used throughout the five millennia or did activities shift in the landscape? Based on the current record, the frequency of the rock art argues for a clear division of the material into four chronological phases. The material record shows an intense production in the earliest period from c.5300–4000 BC, with about 60% of the rock art being made then. The results from this study indicate that the rock carvings in Alta support a framework for the Alta rock art into four phases.

Grown Up Boyz and Girlz. Italian Graphic Novelists’ Trans-European Paths and Gendered Representations

ABSTRACT Encouraged by a growing tendency towards international training and education as well as by the precarity that dominates artistic production in Italy, Italian comics artists are the protagonists of a diaspora as they emigrate to other European countries. This article investigates the effects of migration and geographical in-betweenness on the work of two Italian graphic novelists, Nicoz Balboa and Alice Socal, whose texts feature explicitly gendered representations. A hybrid methodology is employed, combining textual analysis supported by a nomadic feminist theoretical framework with semi-structured interviews with the authors. The article argues that Balboa and Socal inhabit a ‘diasporic space’ both as artists and individuals. This space is characterised by the constant contestation of socio-cultural boundaries and divisions. Furthermore, the gendered representations delineated by these authors systematically interrogate the inflexible binarisms imposed by the patriarchal socio-cultural order. These interrogations extend beyond gender boundaries, challenging the rigid dichotomy that separates youth from adulthood.

Cloud Based Ccmc Model for Application of Genetic Algorithm Based on Cloud Computing in Art Product Design

Art design has entered a new era with the integration of cloud computing technology, revolutionizing the creative process and expanding artistic possibilities. By leveraging the vast computational power and storage capabilities of cloud platforms, artists can explore innovative techniques, collaborate with peers remotely, and access a wealth of digital resources from anywhere in the world. Cloud computing enables artists to work with large-scale datasets, create complex visualizations, and render high-resolution artworks with ease. Moreover, cloud-based tools and applications offer flexibility and scalability, allowing artists to experiment freely and iterate rapidly. Whether creating digital paintings, 3D animations, or interactive installations, cloud computing empowers artists to push the boundaries of their creativity and bring their visions to life in ways previously unimaginable. This paper presents an innovative application of genetic algorithm (GA) leveraging cloud computing technology for art product design, with a focus on the Centralized Clustering Middle Chain (CCMC) framework. By harnessing the computational power and scalability of cloud platforms, GA facilitates the optimization of design parameters to generate novel and aesthetically pleasing art products. The CCMC framework streamlines the design process by centralizing data clustering and analysis, enabling efficient exploration of design space and identification of optimal solutions. Through simulated experiments and empirical evaluations, the effectiveness of the GA-based approach in art product design is assessed. Results demonstrate significant improvements in design quality and efficiency, with the GA-enabled cloud computing solution achieving a 40% reduction in design iteration time and a 30% increase in product innovation compared to traditional methods.

The Politics of Taking No Position: Jay Chung and Q Takeki Maeda

Since the 1970s, thinking about the social dimensions of artmaking has been dominated by two lines of inquiry: firstly, regarding artists’ decisions to make one kind of work versus another, and secondly, concerning the curators, critics, collectors, and viewers who together determine art’s meaning and value. Works of Institutional Critique following in this lineage argue that artworks are permeated by the social relations that predominate in their immediate context. Works’ meaning and value emerge, immanently, in relation to this ground. Yet thinking about the social dimensions of artmaking has failed to account for the way that contemporary art’s representational conditions impact artistic production. In this paper, I fill a gap in art discourse surrounding the stakes of artistic production amid what Kobena Mercer calls “inclusionism.” Work by the duo Jay Chung and Q Takeki Maeda, I argue, reveals that––within contemporary art’s prevailing representational paradigm––of similar importance to the position one takes, is one’s position as subject. A series of exhibitions produced by Chung and Maeda between 2009 and 2021 prove that one of the primary meanings of Institutional Critique within the field of contemporary art production is the possibility of refusing the reduction of a work to its maker’s subject position. Chung and Maeda’s work can be seen as articulating insight into the objective conditions of contemporary artistic production, distribution, and reception––specifically regarding the gallerists who invited the duo to exhibit––and thereby pointing beyond contemporary art’s representational double bind.

A Picture Is Worth 1,000 Words: A Reflection on Art-Based Assignments for the Study of Traditional Jewish Texts

ABSTRACT As instructors of Jewish Studies struggle to find ways for their students to be more engaged in their learning, it is worthwhile for educators to consider whether art-based assignments are effective at reaching this goal. This article examines what students gain when their study of a biblical chapter is paired with the generation of an art product on that chapter. The study evaluates a pictorial summary assignment to retell the narrative and a dramatic production assignment to analyze the messages of a biblical chapter. The findings suggest that art-based assignments help students read Jewish texts more closely and make more personal connections to them more so than when no pictorial component is included with verbal-based assignments.

Political economy of music in the digital age

This paper seeks to unravel and understand the conditions and ways in which cultural capitalism operates that drive its production, exchange, distribution and consumption in the digital age; as well as understanding the powers that hold it and those it serves, the circuits in which it is heard, the spaces in which it is prohibited, its context and historical transformations. Music as an artistic production and symbolic object has always been linked to its characteristic instruments and technologies of its time. But when the economy catches up with it and it becomes merchandise, other means and channels are put into play for its dissemination, storage and control. It seeks to demonstrate those stealthy operations with which intermediaries operate. An analysis is made regarding the logic of consumption and production of users, on power relations and asymmetries between some actors in the music industry.