Artistic Production Research Articles

Crafting culture in the Adriatic: a case of woodcarvers and painters in Quattrocento Dubrovnik

The well-preserved archival documentation in Dubrovnik provides valuable insights into various subjects, including production of art. This study delves into the collaboration between woodcarvers and painters in late medieval Dubrovnik, focusing on the mid-15th century, when artistic production was greatly influenced by the exceptional stability of the commune. Contribution challenges conventional assumptions regarding artist specialization during this era. Contracts from this period often delineated the responsibilities of painters in supervising carpentry work during artwork fabrication, while some documents suggest woodcarvers executed basic painting tasks. Discoveries are consistent with the knowledge of Italian art production, affirmed through meticulous examination of exceptionally well-preserved archival sources.

Can the Alienated Helper Speak?

This autoethnographic study explores the often overlooked and undervalued roles of assistants in the contemporary art world, focusing on their experiences of alienation and burnout. Through a combination of personal narrative and theoretical analysis, it examines how support roles, despite being essential to artistic production, remain invisible within the dominant art discourse that idolizes creative authorship. I begin with a reflection on my experiences as both an assistant and a curator, highlighting instances of emotional labor and burnout among support staff. The narrative is contextualized within broader cultural and social frameworks, drawing on feminist theory and sociological studies that critique the hierarchical nature of artistic labor. Extending to autofictional literature, the analysis showcases how assistants articulate their alienation and critique the art world’s exploitative dynamics. By interweaving personal and literary accounts, the study underscores the paradox of interdependence in art, where the labor of assistants is both indispensable and disregarded. The conclusion advocates for a reexamination of artworld structures, urging greater recognition and support for those in support roles.

Testing tools: an experimental investigation into technical and economic aspects of Levantine rock art production

Testing tools: an experimental investigation into technical and economic aspects of Levantine rock art production

Music Arrangement in Kurdish songs in Suleimani

Performed music is an important and unique part of the world's music center and its different situations are analyzed through several scientific theories. The Kurdish Music Center has its own efforts in the field of composing and distributing music and can be classified into different categories and by resorting to these scientific principles can be treated scientifically. Since the beginning of its establishment, Sulaymaniyah has been a city full of artistic products and various innovations. Therefore, working on this entity is an important task of scientific research and excavating the history of this invention requires more scientific research, especially since the state of scientific research in the field of music and analysis of production situations is not at the necessary level. This research is an examination of the musical works that have been distributed in the city of Suleimani. It also classifies and distinguishes works in terms of stage and style. Along with these is the analysis of each of the songs sampled by the researcher in terms of form, harmony, distribution of words and use of musical instruments

Развитие творческого мышления студентов в процессе преподавания скульптуры

This article addresses the issue of the lack of creative thinking among master’s degree students in sculpture departments at universities in China. Combined with teaching practice, the article puts forward countermeasures to solve the problem of lack of creative thinking and emphasizes the importance of cultivating students’ creative thinking ability in sculpture teaching practice. Among these measures, whose effectiveness has been confirmed through teaching practice, are: encouraging student initiative, emphasizing independence in creative exploration, ensuring interdisciplinary training, integrating various art forms, and enhancing student self-discipline. Additionally, the author highlights the need for reforming the sculpture curriculum and updating the teaching methodology. In the context of modern art education, it should not be limited to the development of a specific set of skills but should instead stimulate students’ imagination and creative pursuits to meet society’s demand for creative art products. Cultivating of students’ creative thinking is not solely the responsibility of teachers; it requires active participation from the students themselves, ultimately leading to the formation of an independent artistic style and personalized artistic self-expression.

Development of cellulose-based biosorbents from the residue of the peach palm agribusiness and simulation of industrial scale-up for copper removal from Brazilian spirit.

Cachaça (Brazilian spirit) is an alcoholic beverage of cultural and economic importance in Brazil. Its artisanal production is usually conducted in copper alembics, which results in contamination. The development of effective biosorbents from cheap matrices is an alternative to minimize both solid waste generation and copper levels in cachaça. The present work evaluates the obtention of nanocellulose-based materials from the major residue generated during the processing of palm heart from the Brazilian peach palm, through different processing techniques. Materials were characterized by physicochemical composition and their sorbent capacities for copper removal from aqueous solutions, and a simulation was conducted to evaluate potential application in the adequacy of cachaça to meet Brazilian legislation requirements. The different processing methods resulted in different cellulose concentrations, with the highest concentration in the bleached material (B3, 694 g kg-1 of cellulose), and different specific surface areas (1.02-12.4 m2 g-1). Copper adsorption onto nanocellulose obtained from peach palm external sheath is fast, with a predominance of a chemisorption mechanism. Isotherms were best represented by Langmuir's model, suggesting a monolayer adsorption. Simulations indicate that B3 is a suitable material for the removal of copper from cachaça, and small amounts of biosorbent (733.5 g) are required for the reduction of copper concentrations (10 to 3 mg L-1) in 1000 L of cachaça. This study demonstrated that the obtention of biosorbents from peach palm solid residues is promising and this nanocellulose-based material can be used for copper removal from contaminated cachaça. © 2024 Society of Chemical Industry.

Critique of Reification of Art and Creativity in the Digital Age: A Lukácsian Approach to AI and NFT Art

Abstract This article critically examines the emergent phenomena of AI-generated and NFT art through the lens of Georg Lukács’ theory of reification and its existential implications. Lukács argued that under capitalism, social relations and human experiences are transformed into objective, quantifiable commodities, leading to a fragmented and alienated consciousness. Applying this framework to AI and NFT art, these technologies can be said to represent extreme examples of the reification of art and creativity in the digital age. AI art generators reduce artistic production to abstract, computable properties divorced from lived experience, while NFTs transform digital art into speculative commodities, imposing the logic of private property and exchange value onto the previously open domain of online culture. The existential dimension of this reification is explored, raising questions about the nature of creativity, originality, and the value of art in an increasingly financialized and automated world. The article suggests that a Lukácsian critique must not only diagnose the reified character of these cultural forms but also identify their potential for resistance and transformation, pointing toward a re-humanized and emancipatory vision of art in the digital age. Contemporary theorists such as Tiziana Terranova, Nick Dyer-Witheford, and Benjamin Noys are invoked to further elucidate these issues.

Notas sobre escultura e Notas sobre escultura, parte 2

The articles “Notes on Sculpture” and “Notes on Sculpture, Part 2” by Robert Morris mark a milestone in the history of sculpture, challenging traditional notions of form and function. The emphasis on basic geometric elements and the understanding of sculpture as a spatial event, rather than a static object, transformed artistic discourse. By proposing an approach centered on the viewer’s experience and the work’s interaction with the environment, Morris paved the way for Minimalism. Through his reflections, the artist significantly expanded the possibilities of sculpture, influencing contemporary art production and criticism in a decisive manner.

EXPLORING THE IMPACT OF ARTIFICIAL INTELLIGENCE IN THE VISUAL ARTS: A COMPREHENSIVE STUDY

Human thinking first appeared through visual art. From the early cave man paintings to this modern-day AI-generated image and deep learning algorithms, the world has developed. Artificial intelligence (AI) has impacted the visual arts in various ways, and it has influenced more and more as a transformative force in many fields. Through this study, the complex link between artificial intelligence and the visual arts is explained by analyzing the effects, the outcomes, and the future paths. The study explores how artificial intelligence has transformed the production, interpretation, and consumption of art. It also shows how AI algorithms are employed by artists to generate imagery. This study, along with the analysis of surveys, experimental initiatives, and different artworks, explains the impact of artificial intelligence in the world of visual arts. It also tells how artificial intelligence has swayed historical mythology and its sociocultural ramifications. With an interdisciplinary approach, this study integrates the understanding of computer science, art history, and cultural studies and offers a subtle analysis of the profound impact of AI on the visual arts. Finally, this comprehensive study provides an insight on how artificial intelligence has influenced and impacted the visual arts and about the evolutionary technological potential of it in the future by providing a deeper and better understanding of the growing complex link between creativity and technology in modern art practices.

«Le Matériel verbal comme mémoire seconde» Memory in Paul Valéry’s Cours de Poétique

The aim of this article is to show the interrelationship between, memory, language and artistic production in the reflections of Paul Valéry. If some of Valéry’s essays in this sense were already accessible to readers, the recent publication of the almost entirely unpublished materials of the Cours de Poétique – held at the College de France from 1937 to 1941 – reveals a fruitful theoretical laboratory that can provide numerous insights into Valéry’s reflections on poetic production and the aesthetic importance of observing memory and its role in the creation of artistic forms.

From Silence to Canvas: The Role of Artivism in Transforming Gender and Sexuality Norms

AbstractThis study delves into the uncharted scholarly intersection of art, LGBTQ + advocacy, and critical consciousness in India, to survey the current state of LGBTQ + artivism and explore how various artistic modalities operate their potential to transform gender and sexuality norms. It identifies LGBTQ + artivism as functioning primarily in two modes: the externalization of internal psychic states and the collective ingroup-outgroup engagement. The study observes that the transformative impacts of LGBTQ + artivism are often transient and rooted in affective responses; however, as possessing the potential to challenge normative ideologies and influence critical consciousness. Using Pierre Bourdieu’s framework, the study highlights that artivists function as ‘cultural intermediaries,’ employing various modalities that elicit different capacities for public involvement. Artworks that externalize internal psychic states, through mediums such as acrylic paintings and digital illustrations, are seen to facilitate the personal agency of LGBTQ + artists through the reimagination of the self amid societal discrimination of non-normativity. Additionally, collective and participatory artivism utilizes public platforms to foster dialogues that problematize the ‘us versus them’ dichotomy, both within and outside digital spaces. Through the lens of Bourdieu, the study also identifies digital LGBTQ + platforms as sites of ‘cultural consecration,’ offering inclusive alternatives to traditional gatekeeping in art production and dissemination.

Assemblage Robotic Plants: Individualizations of Many Orders of Magnitude

Abstract This paper focuses on the author’s artistic practice and presents robotic plant creations as assemblages using robotic autonomy unities in a Small-World Network configuration. This artistic production is significantly founded on Gilbert Simondon’s philosophical concepts about Technological Beings. Understanding these communities of robotic structures as individualizations is critical to apprehending them as individuals. The paper also discusses the implications of hardware design, coding, and the concept of artificial life related to the development of such technological organisms.

Experimental insights into cognition, motor skills, and artistic expertise in Paleolithic art

The production of Paleolithic art represents one of the most intricate technical and cognitive endeavors of Homo sapiens, marked by its profound antiquity and vast temporal and spatial framework. Despite its significance, there have been no prior studies aimed at understanding the cognitive and motor skills linked to the creation of realistic images characteristic of this artistic cycle. This research integrates archaeology and experimental psychology, premised on the assumption that the neurological basis of Anatomically Modern Humans has not changed substantially since the Upper Paleolithic. This work employs an innovative interdisciplinary approach, utilizing psychometric tests and drawing and engraving tasks monitored by motion-sensing gloves, to compare the performance of experts and non-experts in visual arts when faced with challenges akin to those of Upper Paleolithic artistic production. The results revealed that expertise in visual arts is linked to enhanced spatial abilities and specific patterns in drawing from memory. Additionally, both experts and non-experts displayed similar motor skills when engraving using Paleolithic techniques, suggesting that these techniques required specialized training in the contemporary experts. In conclusion, this research deepens our understanding of the processes involved in Upper Paleolithic artistic production.

In Pursuit of Temporal Illusion: the Reproduction and Imitation of Antiquities under the Yongzheng Emperor (r. 1723–35)

Abstract The practice of reproducing and imitating antiquities during the Qing period (1644–1911) has attracted the attention of many scholars, especially those specialised in Qing imperial art production, who have delved into such practice initiated particularly under the Kangxi (r. 1662–1722) and Qianlong (r. 1736–95) emperors. The Yongzheng reign (1723–35), however, appears relatively overlooked in the ongoing discussion. This article aims to fill this research gap by examining the reproduction and imitation of archaic ceramics under the Yongzheng emperor. Both two-dimensional pictures and three-dimensional objects produced after archaic ceramics will be examined together with relevant imperial archival records in order to penetrate how antiquities would take on new forms, functions, and meanings and speak to an imagined, multi-layered past constructed at the court. Building upon this, the article will re-examine the definition of ‘antiquities’ in the Yongzheng context and unveil the pattern of thinking behind the illusionistic archaising practice in relation to Emperor Yongzheng’s dual identity as the Manchu ruler and a cultivated literatus engaged with Han Chinese traditions.

A Changing Representation: “Personal Writing” in Artistic Intervention in Chinese Rural Communities

As socially engaged art has played a vibrant role in responding to the crisis of the postmodernist art regime, the current post-Occupy condition has manifested itself in artistic interventions in rural China. In contrast to social writing, which encompasses street art, designers going to the countryside, and industrial empowerment to construct “good cultural governance” or “good cultural taste,” the term personal writing as used here describes a type of avant-garde intervention that has sparked interest in vernacular communities. It provides a socially minded critique of art production as bifurcated from the remaking of everyday social relations and subjectivities, political and cultural possibilities, and the rural Chinese future. Grounded in a contextual analysis of the social turn in Chinese contemporary art and the lingering “rural problem” under post-socialism, this article takes artist Mao Chenyu's Paddy Film project as an example of personal writing and proposes this artist's activisms at Dongting Lake as a specific intervening field, visual ethnography as a method, paddy rice as a distinctive “thing,” and archival practices as a deconstructive pathway that together have promoted the emergence of a resistance narrative in artistic intervention in Chinese rural communities.

Against the As-It-Is: An Inquiry into Sculptural Bodies in Recent Japan

This article aims to propose the way of an interpretation on recent sculptural works in Japan, especially ones with bodily figuration. Although they would share some features with artistic production outside the country and the proposed approach is not comprehensive considering variegated contemporary sculptural practices, it is suggestive that there was a historical situation where artists criticized the human-based representation of the world and turn to a kind of naturalism, as led by Mono-ha in the context of postwar Japan. Some succeeding sculptors have struggled against the naturalism that demands to leave things as it is.

Year zero of tomorrow’s pasts

ABSTRACT We will discuss the impact of AI on storytelling, particularly in the context of Indigenous media-making. We will do this broadly in reference to our own practices and artistic processes and our current collaboration, Tomorrow’s Pasts, specifically in relation to our experience of developing and creating artistic and creative projects with AI-generative media.We will speak to the notion that Indigenous knowledge systems tend to be relational whereas Western knowledge systems can be cumulative and extractive, and that these points of difference expose a colonial imprint on conceptualizing and producing projects that deal with artistic and cultural production in general and emerging technologies in the narrative space in particular. In this we will refer to the growing field of research into indigenous data sovereignty.We will draw directly on 3 ‘events’ in which we participated in 2023: (1) Frame Doco Lab, Victoria, Australia (2) The International Sami Film Institute’s Indigenous Film Conference in Guovdageaidnu, Norway and (3) Art + Australia’s Study-In on AI + Race + Art, Melbourne, Australia. our in-conversation at the Indigenous Film Conference (August 17–20) presented by the International Sami Film Institute in Norway.

Creative Artwork of Elementary School Children's Dance Drama Performance Based on Folklore (Folklore) of Kediri City

Problems encountered related to art education include the rareness of alternative literacy of art forms for elementary school students based on culture. Local art products such as the Panji story will be very valuable if elaborated in the world of children in the form of performing arts. Involving children in the creative process of practicing art can provide empirical experience to improve their creativity. This study aims to determine the level of validity, originality of the work and the applicability of drama dance performance art works for elementary school children. The method of developing this drama dance art work is carried out with the stages of observation, exploration, composition and evaluation. The results of the study showed that the product of the creation of elementary school children's drama dance performance art based on folklore is very valid/suitable for use. This is evidenced by the score of 4.80 obtained by the dance expert validator. The validation results are related to the variety of movements, floor patterns, costumes and make-up. While the second validator obtained a score of 5 which means that the Panji Laras drama dance product/work is very valid/suitable for use. The validation results include the level of originality of the work, novelty and applicability for elementary school children. Thus, the work of dance drama performance art entitled Panji Laras is very valid/worthy of being used.

Exploring the Emotional Resonance of Folk Cloth Art Products among Youth in Jinnan, China

Exploring the Emotional Resonance of Folk Cloth Art Products among Youth in Jinnan, China

Revolutionary Art and the Creation of the Future: The Afrofuturist Texts of José Antonio Aponte and Martin R. Delany

Afrofuturism (an artistic perspective in which Black voices tell alternative narratives of culture, technology, and the future) and the Dark Fantastic (interrupting negative depictions of Black people through emancipatory interpretations of art) are two interrelated concepts used by Black artists in the Atlantic World to counter negative images and emphasize a story from a Black perspective. Likewise, these concepts have been used to recreate and re-narrate history with an eye towards subverting white supremacist historical narratives. By using Afrofuturism and the Dark Fantastic as lenses through which texts by authors from the African Diaspora in the Atlantic World are examined, an alternative narrative of Black histories and futures concerned with revolution, liberation, and justice can be seen. The two texts that are the subject of this research include José Antonio Aponte’s descriptions of his book of paintings under interrogation in 1812–1813, and Martin Delany’s novel Blake; or the Huts of America (1859–1862), providing images of enslavement that run counter to a white supremacist telling of history. They both imagine alternative pasts and futures for Africa and the Afro-Diaspora involving revolution and magic. These works, though produced at different times and locations in the nineteenth century, offer new ways in which to discuss liberation and freedom in the context of the artistic production of the Atlantic World.