Artistic Production Research Articles

Attitudes towards natural wines among Spanish winemakers: Relationship with environmental awareness

There is an important movement in the wine industry towards the production of alternative and more sustainable wines. Natural wine (NW) is a controversial category of alternative wines, which needs to be further explored. Given the role of technical experts as opinion leaders, the present work aims to explore the attitudes of Spanish winemakers towards NW and their relationship with their overall environmental awareness. Therefore, 307 Spanish winemakers completed a questionnaire to evaluate: (1) their attitudes towards NW by scoring their agreement with 31 statements, (2) their ecological awareness by evaluating 11 items, (3) their frequency of consumption and interest towards NW, and (4) their sociodemographic profile and general information about wine production. PCA with varimax rotation calculated on 28 of the 31 statements related to their attitudes showed six independent dimensions. Further hierarchical cluster analysis calculated with the six dimensions showed five clusters of wine experts with different attitudes towards NW. Results show that there is a major negative attitude towards the flavour of NW, their ageing capacity and their quality-price ratio, but a positive one in terms of economic impact for the wine industry. Aspects related to the role of NW in tradition, social identity, ecology, health, artisanal production and economic feasibility mark differential attitudes. Interestingly, the dimension related to winemakerś attitude towards tradition, social identity, and ecology of NW was positively correlated with their overall ecological awareness and thus their life style. This paper sheds light in the understanding of the behaviour of Spanish winemakers regarding ecological transition and provides tools for policymaking regarding NW certification.

Aesthetic Considerations on György Ligeti’s Works

This article represents a revised chapter of my book György Ligeti’s Creation in the Stylistic Context of the 20st Century, published in 1999. It shows the divergent and contrasting aspects of the com poser’s pieces, their synaesthesis and their preference for allusions and illusions. Ligeti’s whole work is a large spectrum built with associable musical structures that are also found with other composers or even in extramusical artistic productions. But despite this, it remains original and innovative, not belonging to any stylistic orientation of 20th century music.

Issues of Using Phraseologisms in Italian Language Teaching: a Linguoculturological and Linguodidactic Study

Phraseological units are considered a product of folk art. As an important branch of linguistics, the main focus of phraseology is on the study of the nature of phraseologies and their categorical signs, as well as on determining the laws of the use of phraseologies in speech. The most important problem of phraseology is to differentiate and distinguish phraseologisms from word combinations that are formed in speech (that is, not ready in advance) and to determine the signs of phraseologies on this basis.

In/secure childhoods: Children and conflict in Kashmir

This paper focuses on art productions by children participating in an art-based wellbeing intervention project in Kashmir. Drawing on feminist security studies, we conducted narrative analysis to explore how children represent in/security. The locations of in/security were the environment, the body, and the socio-political realm. Children articulated nuanced and complex representations of the natural and social world, influenced by local and global forces, and created their own meanings and practices of in/security.

Upaya Mengenalkan Produk UMKM Damar Kurung Melalui Studi Independen Sekolah Ekspor

Damar Kurung is a typical Gresik city art product and has considerable market and export potential. With the Export School Independent Study program "Be a Digital Exporter", it is expected to be able to introduce Damar Kurung products to local and international markets. Efforts need to be made to be able to utilize the potential that exists in regional MSME products, one of which is the Independent Study of the Export School "Be a Digital Exporter" held by Merdeka Campus. The research method used a qualitative approach with a descriptive method. Data collection is carried out using observation and documentation techniques from the results of observations that can be concluded. The results of this study are Through the Sang Damar company created in groups in the Independent Study program of the Export School, we introduce and try to market Damar Kurung products. It is hoped that in this way it can boost the development of regional MSMEs in Indonesia, especially in Damar Kurung products typical of the city of Gresik.

Abitudine, contingenza, oralità: per una letteratura “viva” a partire da Leopardi


 
 
 What is the relationship between habit and literary creativity? What role does the notion of habit play in the process of composition and, in general, in artistic productivity and the aesthetic experience? How do the terms habit and improvisation, habituation and contingency relate to each other? To answer these questions, crucial for aesthetics, this essay moves from the discussion of some significant passages in Giacomo Leopardi’s Zibaldone. On the one hand, the notions of habit and habituation will be discussed, understood – in the specific case of their application to poetry – as the poetic work of giving oneself a form; on the other hand, I shall analyze the notion of environmental or contextual contingency as the input that activates the poetic composition, in terms of a so-called “deliberate improvisation”. Against the background of these interconnected concepts the issues of the relationship between book and orality, performativity and recitation, lowbrow culture and highbrow culture will emerge, in a dense web of cross-references that defines, at least in its general lines, one of the axes of Leopardi's theoretical thinking around the 1820s.
 
 

Composition System in the experience of the artist Georges Braque

Our research deals ( Composition System in the experience of the artist Georges Braque) addresses Based on the importance of research as an effective energy, the diversity of material and experimentation carried out by the artist George Braque , through his transitional phases in his constructive system between analysis and composition in his artistic output. In its methodological frameworks Chapter I highlighted the problem of research and its importance and came up with several questions for the problem: What constructive composition system is followed by the artist in his achievements for his artistic experience? What techniques and mechanisms do I adopt in shaping his artistic achievement? Influential or associated references in George Braque artistic experience that contributed to the creation of those intellectual variables or theses through his transition stages within the artistic achievement? Is the artist’s experience, an extension or a reference for many contemporary art products, which we are witnessing today in the arena of art formation?.

The statute of image production in cinema and art through artificial intelligence

The statute of image production in cinema and art through artificial intelligence

Making and interpreting: digital humanities as embodied action

Digital technology has created new spaces, new realities and new ways of life, which have changed the way people perceive and recognise the world. In particular, the production, dissemination and reception methods of literature and art have been impacted upon significantly. Acknowledging humanities scholars have been engaged in conducting research while theorising and debating what Digital Humanities (DH) is/is not in the past two decades, this study extends current thought on DH by connecting it with the concept of sociological body, particularly thinking bodily interaction in relation to digital technologies in DH practice. The increasingly deepening integration of body and technology allows DH practice to become an event, in which embodied bodily action is situated in the (digital) environment that impacts on knowledge production. Acknowledging contemporary discourse regarding the two waves of DH, the article pays attention to the presence of the body whereby DH practice is bodily inclusive as mediated by digital technology, in which bodily interaction in producing knowledge via technologies reflects haptic experience and cultural constraints upon the sociological body. At the same time, technologies are not an innocent medium but an active contributor, so much so that we claim knowledge produced with the substantial involvement of digital technology is ‘digitised’ knowledge, as our critical interpretation towards a possible DH 3.0 practice that is subject to the core value of the humanities.

Art festivals in Japan: Fueling revitalization, tourism, and self-censorship

ABSTRACT This paper critically considers large-scale contemporary art festivals that have become a significant force of art tourism in Japan. While many of these projects got their start in socially conscious endeavors with a focus on machizukuri, or local community building, the increase of government-sponsored revitalization initiatives and heightened pressure from the tourism industry has shifted the output of these festivals over the years. As such, this paper aims to situate such festivals within their shifting genealogy, observe some of the ways that today’s artists and their artwork may be subject to precarious positions of instrumentalization and censorship, and raise points of critique for audiences to keep in mind around the topic of rural revitalization – i.e. what are some of the challenges that artists, curators, and organizers face today? While reflecting on factors at stake for art and cultural production in a hyper-touristic context, this paper also highlights the work of Shitamichi Motoyuki, an artist disrupting this paradigm in ways reminiscent of earlier forms of machizukuri art practices.

Beyond masters: women’s shifting roles in Nepal’s new neoliberal garment industry

ABSTRACT The late 20th century saw a phenomenal integration of the production and consumption of clothing between the Global North and the Global South. While global integration of mass manufactured garments has been discussed at length, this paper investigates the gender subjectivities within artisanal production of globally-oriented ethnic wear within the garment value chain. This ethnographic case study focuses on the women entrepreneurs animating the large-scale Nepali garment subcluster. This subcluster, with its origins in fringe tourism and development expatriatism became so integrated with its global counterparts that some entrepreneurs became prominent national names. The market conflated female and male designers and entrepreneurs. In this process of symbiotic absorption, and the dominance of garment production in the national economy, female entrepreneurs saw their careers sidelined and their contributions overlooked. This paper draws on an extensive ethnographic fieldwork encompassing the period from 1990s to the first quarter of the twenty-first century to explore the evolving dynamics of the Nepali public sphere in response to profound changes within the Nepali state. These transformations encompass the shift from a Hindu monarchy to a Maoist revolution, resulting in a secular, republican and federal state. The paper further examines the implications of these shifts for the female entrepreneurs in Nepal who have played a substantial role in Nepal’s industrialisation.

“I Walked Out”: Perambulatory Poetics, Authorial Independence, and Isabella Whitney’s Poetic Voice in A Sweet Nosgay

ABSTRACT The act of walking energizes the formation of Isabella Whitney’s poetic voice in her second volume of verse, A Sweet Nosgay (pub. 1573). Walking out of her house, trespassing in Plat’s garden, and traversing the perimeter of Bedlam are just a few of the striking scenes that depict Whitney’s perambulation. To examine the connection between walking and the formation of her poetic voice, I suggest that Whitney’s walking operates in two distinct registers. Firstly, walking is a thematic concern that exposes her interest in the contours of intellectual independence, the process of artistic production, and the vulnerability occasioned by impecunity. Secondly, walking operates as a form of poetic performativity, figurative of her trajectory towards print publication. This essay expands discussion on Whitney’s mobility, suggesting that perambulatory poetics are a crucial component of her authorial self-presentation in A Sweet Nosgay.

Archives as forms of resistance

ABSTRACT This visual essay explores a number of artistic and curatorial practices in which the archive acts as a primary tool for rereading histories. Contemporary art reveals a growing interest in the use of archival material and in the formation of new archives inside and outside institutions. Considering the archive as a series of documented and preserved knowledge, one motivation for such attentiveness could be the merging of artistic productions with curatorial practices. Building my argument on Irit Rogoff's analysis of curatorial practice as an “epistemic structure”, I examine how archives have the potential to produce knowledge against historical forgetfulness. Furthermore, the process of sustainable changes within the museums, as discussed by Peter Osborne, is studied here as another motive for the increasing use of archives in contemporary art. This is done by focused examinations of a research-based exhibition, Karnameh: Visual Culture of Iranian Children (1950-1980); two curatorial projects (one temporary and one ongoing), respectively Tehran Museum of Contemporary Art's Poster and the Archaeology of the Final Decade (AOTFD) and lastly an installation art piece, Documentation. Through these examples, I argue how working with archives, especially in conflicted places, is crucial to help with recovering erased histories and accumulating shattered memories.

Civic art galleries and interwar exhibition cultures in Britain

ABSTRACT Exploring the interwar exhibition histories of four civic art galleries in the East Midlands, this article demonstrates how such institutions in Britain became active agents in the production of interwar art exhibition cultures. It argues that networked curators were instrumental in moulding the practices and structures that fed civic exhibition production, and that their active involvement in wide-reaching professional networks such as the Museums Association meant that they also shaped art exhibition practices at a national level. By promoting public consumption of a wide range of artistic periods and styles, highlighting regional cultural assets, and supporting local art production, civic galleries in the 1920s and 30s helped to build regional capacity, ultimately providing a fertile basis for the centralisation of public and governmental support for the arts in Britain after 1940.

Spontaneity in the Plastic Art Productions of Students of Department of Art Education

Spontaneity in the Plastic Art Productions of Students of Department of Art Education

Strategies for Modern Art Product Morphogenesis and Functional Optimization Based on Computer-Aided Design

Abstract The research constructs a computer-aided design-based morphological design system for art products and processes it with a BP neural network and genetic algorithm for optimization. Computer-aided design techniques such as face segmentation, morphological proportion design, homogeneous curve drawing and organization, chamfer setting, and management methods are introduced to design the morphology of art products. By analyzing the error value of each part of the product in the design of sculpture products in this paper’s art product morphology design system, the performance of the product morphology design of this paper’s system is examined. The color characteristics of the art products are deconstructed and analyzed by comparing the hue, brightness, and purity of the designed sculpture samples. The mean square error values of each part of the sculpture product (head, arms, torso, legs) are 0.0046, 0.0019, 0.0073, and 0.0036, respectively, and the overall average mean square error is 0.0044, which makes the art product morphology design model based on computer-aided design of this paper have good accuracy. The values of hue, brightness, and purity of the main color of the sculpture product are relatively stable, with the range of hue being roughly 4~8 and the main range of brightness and purity being 20%~40% and 20%~40%, respectively. The brightness and purity of auxiliary colors and accent colors are both steady, and the purity of auxiliary colors is greater than that of the main color. The accent color has the largest range of hues in the selection of hues.

The Prominent Role of Hat Chap Cai Luong Arts in Tourist Attraction to Thoi Son Island, Tien Giang Province

The purpose of this article is to study and analyze the current development and utilization of cultural and artistic tourism products on Thoi Son Island, Tien Giang Province. The article focuses on evaluating the effectiveness of incorporating don ca tai tu music (a genre of chamber music in the traditional music of southern Vietnam) in serving tourism activities in recent times and identifying existing issues in the development process of these cultural and artistic tourism products. In addition to discussing the advantages and competitive capabilities of Thoi Son Island, the article also proposes suitable solutions for the development of cultural and artistic tourism products in the locality, particularly the application and promotion of the art of hat chap cai luong (one of the traditional theater opera plays in southern Vietnam) combined with storytelling for tourism purposes. The research methodology employed in the article combines both quantitative and qualitative approaches. The quantitative part of the research will concentrate on collecting data on tourist numbers, income from cultural and artistic tourism activities, and tourist satisfaction. The qualitative part will involve conducting interviews, surveys, and gathering opinions from experts and local residents to gain a better understanding of the issues related to cultural and artistic tourism products featuring cai luong singing on Thoi Son Island. The research findings indicate that incorporating the art of hat chap cai luong into tourism activities is effective. However, several issues have been identified that need to be addressed, such as diversifying cultural and artistic tourism products, protecting and promoting the local cultural values, and ensuring the ability to meet the future demand for cultural tourism products without causing harm.

Use and Influence of Technological Gadgets on Students’ Performance in Art Production

Despite the opportunities afforded art teachers in the use of technology today, many of them avoid these opportunities; either because they are not interested or they prefer the traditional way of teaching or they lack the know-how to use them. A cursory look at our Art institutions and Departments in Nigeria today reveals that there is need to overhaul the training methods and facilities in the system to meet global standard and technology-driven society of our time. This paper discusses the place of technology in Art pedagogy; looking at studio practice and theory, its influence on art production and sustainability in the future. The purpose of the study is to evaluate the quality of computer gadget-aided paintings and those made from real objects among selected students in tertiary institutions. Methodology adopted includes literary review, survey and practical experiments. The paper points to the fact that the role of technology cannot be over-emphasized in art teaching and learning, exhibition and sale, recording, preservation, as well as documentation and archiving of art experiences. It is recommended that teachers of Art must be abreast with modern techniques in teaching in a dynamic and technology-driven world of today.

Ransforming Art Education Philosophy in Indonesian Teacher Institutes: From Production to Aesthetic Experience

Art education in teacher training diverges from specialized art education geared towards professional artists. Teacher education prioritizes aesthetic competence through art production and appreciation, aiming to cultivate taste based on values. In contrast, specialized art education focuses on creating aesthetic works within established forms, targeting aspiring professional artists. These distinct emphases significantly shape their respective approaches. Teacher training institutions emphasize fostering students\' appreciation for art\'s value and the importance of aesthetic experiences. However, confusion sometimes blurs the goals between teacher training and specialized art education, affecting art education across different levels. This confusion can lead to an overemphasis on art production over a deep understanding of aesthetics. This paper critically examines these issues and suggests solutions to align art education in teacher training with its intended goals. By clarifying these distinctions and underscoring the role of aesthetic experience, this study aims to enhance art education practices in teacher training programs.

Станция «Дистанция». Диспозитив производства знания в ранних российских художественных исследованиях

The article examines the specifics of Russian artistic research. First, with the help of historical analysis of the phenomenon in the international context, the essential characteristics of artistic research are deduced. They consist in the intertwining of ontology, epistemology and methodology of a work or a process, which is enacted through a problem beyond the issues of art. Art in this situation acts as an “epistemic thing” (Henk Borgdorff), a “theoretical object” (Hubert Damisch), or an enactive environment. This boundary, or the interdependent intertwining of the subject, method, and purpose of the work, manifests itself in different ways in the various apparatuses of knowledge production in art, varying from context to context, despite the globalization of the art scene of the twenty-first century. The Russian art of the late noughties and early tens was just approaching the use of the research paradigm. Its application is conditioned by a range of reasons, including the need to construct a work of art as a complex reflection on a socially acute topic, such as issues of national identity and historical amnesia. The art segment under consideration tried to avoid merging with the common media imagery, moving away from both the dominant rhetoric and its ironic interpretations by artist predecessors and fellow contemporaries, while bypassing straightforward activist strategies. The kind of knowledge such art dealt with was often non-knowledge, the ungraspable, the erased, and the camouflaged. This knowledge found its elusive manifestation in traces of absence, scattered authorship, failures, and other forms of distancing, yet sometimes revealing through such embodiments its own communicative limitations.