Process Of Artistic Creation Research Articles

The Development of Mixed-Media Art Creation Process from Waste Materials to Improve Communication Efficiency

Purpose: The present economic and technological growth has increased goods manufacturing rapidly and led to the problem of waste material management. This research aims to study the cause of the problem, its impact, and solutions to reduce the pollution resulting from the increasing amount of waste. It explores various forms of art and concepts from Dadaism till the present, which used waste materials in artistic expression, developing the concept of mixed-media art from waste materials to create perception and feedback from the audience in the most effective way both aesthetically and in making the awareness among the public about the utilization and management of the waste materials that are creating problems to our lives and environment. Method: This is a research and development study. Using Roland Barthes’ semiology theory, the research experiments and explores the art creation process using waste materials to create mixed-media art within the frameworks of two-way or feedback methods. Develop ways of communication and experiment with waste materials to make the artworks that can communicate and invite feedback from the audience, display the artworks in public space, and document the interactions from the audience for further improvement of the artworks Result: This research's evaluation results have a very good total average (x̅ = 4.60, S.D. = 0.56) for form achievement and an excellent total average (x̅ = 4.52, S.D. = 0.57) for conceptualization achievement of creative development from waste materials. Conclusion: Using waste materials as a means of artistic expression is also a good way to give new values to the so-called ‘waste’ and open up possibilities and meanings from the audience’s point of view. In turn, this may help reduce the accumulation of waste, a challenge our society is confronting.

3D plants: the impact of integrating science, design, and technology on high school student learning and interests in STEAM subjects and careers

STEAM education is an educational approach of interdisciplinary teaching of science, technology, engineering, art, and mathematics. STEAM education, however, is often viewed as only including art elements into STEM teaching. Without true integration of the disciplines in STEAM curricula, students rarely are exposed to the connection among disciplines, and self-identify as solely scientists, artists, or technophiles. STEAM curricula also infrequently integrate design, which promotes creativity and innovation. Effective STEAM curriculum and practices are needed to prepare students to face 21st century challenges and work demands. We designed a high school STEAM educational module that integrated plant science, design, and emergent technologies through the creation of 3D models of plants and augmented and virtual reality (AVR) experiences and investigated its impact on students’ understanding of the intersection of art and design with science, learning and skills gains, and interests in STEAM subjects and careers. The module used a project-based learning approach that relied on student teamwork and facilitation by educators. In this 3D plant modeling module, students: (1) investigated plants under research at a plant science research center, (2) designed and created 3D models of those plants, (3) learned about the application of 3D modeling in AVR platforms, and (4) disseminated project results. We used qualitative and quantitative research methods both before and after the implementation of the model to assess the impact of the 3D modeling module. Student responses revealed that approximately half of the students had a good understanding of the intersection of art and design with science prior to the implementation of the module, while the other half gained this understanding after completing their projects. Students saw art and design playing a role in science mainly by facilitating communication and further understanding and fostering new ideas. They also reported that science influenced art and design through the artistic creation process. The most common learning gains were in plant science and 3D modeling, with 35% and 20% of the students reporting these themes only after completing their projects, respectively. The skill gains most cited were research, teamwork, and communication skills. Over 25% of the students reported these skill gains only after the completion of their projects. Paired comparisons of survey responses indicated a significant increase in students’ interest in science, mathematics, and design subjects after they completed their projects. At the end of the module, 40% of the students were more interested in STEAM careers. Another 13% of the students indicated they already had an interest in STEAM careers before beginning the module. Our findings indicate that our STEAM module effectively integrated science, art, design, and technology, enhancing student literacy in these fields, and providing students with essential 21st century skills. The module led to interdisciplinary learning and development of interest in STEAM subjects and careers. The combination of pedagogical strategies used in our module for active, collaborative, authentic, and meaningful learning exemplifies an effective STEAM curriculum with valuable instructional tools for educators, inspiring new ways of teaching and learning, contributing to the practice and applications in STEAM education.

Art Creation Process According to the Method of Using AI Tools

Art Creation Process According to the Method of Using AI Tools

ARTICULATIONS IN EDUCATION: ARTISTIC, LINGUISTIC, AND SOCIAL-PSYCHOLINGUISTIC LANGUAGES IN SCHOOL EDUCATION

The purpose of this article is to discuss about the artistic, sociopsycholinguistic foundations of language and its relations with the school community in the creative process. To do so, we seek to deduce certain communicative notions present in all levels of human productions. We seek to understand how languages (verbal, non-verbal, gestural, etc.) show themselves as inherent and specific materialities of school interdisciplinarity. Thus, we will discuss the importance of the articulation of languages with multifaceted pedagogical resources in a triangular approach, one of the pedagogical methodologies which facilitate creative processes that contribute, among other things, to the integration of an expressively plural and, above all, interdisciplinary learning. To understand this interrelation provided by the languages, we trace the contours of this specific materiality of interdisciplinarity in the artistic and pedagogical creative processes.

The Exploration of Art Creation Among Mothers from Ontario, Canada, with Histories of Gender-Based Violence Using an Interpretive Description Approach.

Gender-based violence (GBV) is a human rights violation and an issue of gender inequality, with 35% of women globally experiencing GBV. Mothers who experience GBV are a unique population, with vast implications on their health. Artmaking can reduce these health effects due to the self-expression, emotional healing, empowerment, and social change which often occur. The purpose of this study was to understand the process of independently creating a visual art form for mothers in Ontario, Canada, with histories of GBV, as a reflection of their experience of GBV. An arts-based interpretive descriptive study informed by intersectionality was conducted with 13 mothers from Ontario with histories of GBV utilizing semistructured interviews. Two themes emerged: (1) creative processes and (2) storytelling experiences of GBV through art. The findings from this study highlight the process of art creation among mothers from Ontario who have experienced GBV. However, further exploration surrounding artmaking among mothers with histories of GBV in Canada is warranted.

What is creative imagining?

Abstract The aim of this paper is to give an account of the use of imagination at the core of artistic creative processes involving experiential imagination, and to show that this use of the imagination does not always lead to a creative output. Creative imagining is a value-guided process, where the values are essentially subjective in that they are given in the phenomenal aspects of experience or imagined experience. But creative imagining is neither sufficient nor necessary for artistic creative processes. It is not sufficient because creativity in other domains may involve value-guided experiential imagining, and it is not necessary because some art may be produced without the use of imagination, or in a manner that employs mostly other forms of imagination.

ARTE E PSICANÁLISE: SUBLIMAÇÃO E CRIAÇÃO NA ARTE E NA CLÍNICA PSICANALÍTICA

This study aimed to understand the intersection between psychoanalysis and art, focusing on two main aspects: first, art as a drive destination through sublimation; and second, the interactions between artistic creation and creation in psychoanalytic analysis. As a result, it was also observed that the sublimatory process of artistic creation enriches the subjectivity of both the artist and the spectator, connecting individual experiences and fostering cultural progress. Furthermore, the research highlights parallels between artistic creation and psychoanalytic practice, both functioning as pathways for meaning-making and psychic elaboration. Thus, in this context, art emerges as a transformative element that unites subjectivity, culture, and aesthetics.

Dancing with the landscape. Anna Halprin ‘explorative’ dance as the encounter with nature’s and architecture’s atmospheric affordances

Following Jean-Marc Besse’s identification of landscape as a dynamic, changing, relational and ‘emergent’ entity, I argue in this article that the artistic creative process is a way of ‘doing with’ landscape that fully embraces this peculiarity of landscape. The art of dance, in particular, makes it clear that it is the artist who creates a kind of mutual attraction between the (trans)formative forces of the landscape, suggesting its renewal and thus giving impetus to its metamorphic and transformative nature. Drawing on Tonino Griffero’s neo-phenomenological approach to the characterisation of landscape as an atmosphere, i.e. as an emotional tonality effused in a ‘felt-bodily’ space, I emphasise the role of the affective dimension in the perception of landscape as something ‘to do with’ rather than ‘to act upon’ in artistic practice. To this end, I take as a case study Anna Halprin’s ‘exploratory’ dance, which focuses on fostering an individual and collective search for a harmonisation of the relationship between movement and emotion. Drawing on notions of the ‘felt body’, ‘atmospheric affordances’ and ‘ecstasies of things’, I analyse the role that her outdoor dance studio – designed by landscape architect Lawrence Halprin – plays in placing the creative process at the centre of dance’s very specific way of ‘doing with’ the landscape.

How Can Curators in Today's Art World Help Emerging Chinese Artists to Increase the Commercial Value of Their Artworks?

The changing landscape of the art world drives consumer preferences, and emerging trends in art and technology. While the art world is constantly evolving, there are many emerging artists, but very few of them have made it to the top. One of the challenges that hinder the emerging artist community is finding buyers for their artworks and connecting with galleries, fairs and exhibitions to increase their commercial value of the artworks. Although the Asian market has grown and gained real recognition compared to previous decades, it is surprising that China’s emerging artists are still struggling to sell their works in the industry. In this study, I aim to explore how curators play a role in dealing with these challenges. The research question is: how can curators help China’s emerging artists create commercial value of their artworks in today's art world? This research finds, it has been found that curators can use brand ecology theory to help emerging artists solve this dilemma, providing them with services throughout their career development lifecycle, including curators play an important role in connecting artists with consumers, and branding artists and their works, by diverse methods.They include publishing the artist's creative process and artworks on different social media, designing compelling stories, helping emerging artists analyze art market trends and consumer behavior, collaborating with commercial galleries to incubate emerging artists, participating in art space exhibitions, collaborating with famous brands to launch co-branded products, and designing and selling peripheral merchandise of the artwork.

On the Shaping of Characters in Dance Drama

Dance performance is a kind of artistic dynamic image soaked with "emotion", and only by grasping the unity of inside and outside and the situation, can we completely shape the character image and achieve a certain artistic aesthetic effect. In dance creation, the creator is an inseparable and complete process of artistic creation, from deeply capturing the dance image, creating and organizing the dance language, arranging and designing the dance section, to finally reflecting the artistic conception on the stage by the actors through rehearsal. This paper takes the dance drama "Zhaojun Out" as an example to discuss how to shape the characters with dance, improve the dancers deep aesthetic thinking on the dance image, and shape the character characteristics of the main characters in the dance drama.

Refik Anadol’s AI-Based Digital Art and Its Intellectual Connotations

This article delves into the digital art produced by the internationally renowned Turkish artist Refik Anadol and his team, emerging at the intersection of diverse disciplines such as mathematics, physics, computer science, and aesthetics, within the context of its intellectual connotations. This qualitative study encompasses 26 projects featured on the Refik Anadol Studio’s website. In addition to the projects, we utilize as data sources the videos, visuals and texts that are available on the website, Anadol’s social media posts, audience comments, interviews, academic articles, and news and critiques related to his works. We analyze the works in the context of the artistic creation process, the nature of the technological collaboration, the relationship established with memory, time, space and audience, particularly in the context of the meanings they signify, and we assess the data we obtain along with their philosophical connections. In short, Anadol transforms public data such as images, sounds, and social media posts that constitute collective memory into art with the aid of digital technology capabilities, especially artificial intelligence, creating in these works molecular, fluid, transient intermediate spaces by superimposing different temporal and spatial layers, images, and realities. Through art, he opens up for discussion questions such as what is the position of the artist in the age of artificial intelligence; how art can help us understand the relationship between the virtual and the real; and what it means to experience memory in the digital age. The heterotopic spaces he constructs in his works offer utopian imagery which suggests a life based on peace, optimism, and relationship shared among humans, nature, and other forms of existence.

From Digital Art to Crypto Art: The Evolution of Art Brought by NFT

Non-Fungible Tokens (NFTs) are transforming the digital art by allowing artists to sell unique, one-of-a-kind digital artwork that is verified on the blockchain. Although NFTs have attracted much attention from academia and industry, little is known about this innovative art practice. In this work, we focus on how NFT artists understand their art creation process, interact with NFT marketplaces, and face challenges in their NFT practices. We conducted a mixed-method study, including interviews with 19 artists and an analysis of market transactions on OpenSea and SuperRare. We found that serialization and Web3 concepts are significant features in NFT artwork creations, and artists utilize artificial intelligence and smart contracts to create artworks incorporating these features. Artists perceived that blockchain features like transparency, openness, and authentication strongly influenced their NFT trading experiences, and they also encountered challenges such as determining artwork value, rights ownership, and addressing technical issues in the creation process.

Disclosure of a Concealed Michelangelo-Inspired Depiction in a 16th-Century Painting.

Some paintings may have hidden depictions beneath the visible surface, which can provide valuable insights into the artist's creative process and the genesis of the artwork. Studies have shown that these covered paintings can be revealed through image-based techniques and integrated data processing. This study analyzes an oil painting by Beceri from the mid-16th century depicting the Holy Family, owned by the Uffizi Galleries. During the analysis of the materials, we discovered evidence of pictorial layers beneath the visible scene. To uncover the hidden figuration, we applied a multimodal approach that included microprofilometry, reflectance imaging spectroscopy, macro X-ray fluorescence, and optical coherence tomography. We analyzed the brushstrokes of the hidden painting, visualized the underdrawing, located the painted areas beneath the outermost painting, and quantified the thicknesses of the pictorial layers. The pigments used for the underpainting were identified through cross-analysis of X-ray fluorescence and spectral correlation maps. The underlying pictorial subject, Leda and the Swan, appears to be inspired by a long-lost and replicated work by Michelangelo. This information places Beceri and his production in a more defined context.

Imajinasi Anak Saat Bermain dalam Lukisan Kontemporer

The purpose of this final work is to visualize the form of child imagination when they are playing into contemporary art. In its creation, this artwork visualize the ambiance and what the child imagine when they are playing with their toys or simple things around them. The method in this artwork creation consist of five stages : (1) Preparation, (2) Elaboration, (3) Synthesis, (4) Concept Realization, and (5) Finishing. There are ten artworks that have gone through the art creation process are “Hewan-Hewan di Langit”, “Pesta Teh dan Kue”, “Istana Selimut”, “Sang Penyelamat”, “Seniman Kecil”, “Bertarung”, “Menghindari Lava”, “Belayar Kapalku”, “Aku Melayang”, and “Koki Cilik”.

"Inseparable": Music and Dance in a Cross-Disciplinary Practice

The following research observes the artistic creative process of a cross-disciplinary theatrical dance and percussion performance, called “Inseparable”. It discusses and analyses the process and methods behind the creation of the piece; the pros and cons of dance-percussion collaboration, and of working as a team of performer-creators; the involvement of a director; the creation of the final performance with a technical crew (light & sound); and the emergence of a mutual artistic language. The cast includes Zaneta Kesik and Matija Franjes - two dancers (doubling as choreographers), and Joao Brito and Kalina Vladovska - two percussionists (doubling as composers), creating the narrative, dramaturgy, choreography and (some of the) music on their own. The director, Renee Spierings, was invited to be an external coach. Teus van der Stelt and Maurits Thiel - light and sound artists - took care of the final presentation. The four performances took place during and thanks to Muziekzomer Gelderland 2023 and were produced by Jarick Bruinsma. Furthermore, in the research I discuss the social impact of the project's themes – technology addiction and human communication - and I examine a number of reactions and feedback from audience members. The chosen form of presentation is a research exposition.

Tantangan Pengarsipan Seni Pertunjukan di Institut Seni Indonesia (ISI) Surakarta

This research aims to do a theoretical study for recognizing the challenges related to archivingperforming arts at the Indonesian Institute of the Arts (ISI) Surakarta as an integral component of the development of the ISI Surakarta Arts Archive. Employing qualitative research methods with a literature review approach, it gathered information from various sources such as books, academic journals, and previous research. Data analysis is carried out by describing and interpreting the diverse viewpoints and procedural aspects. This research uncovers a fundamental challenge in archiving performing arts at ISI Surakarta due to their ephemeral nature—these arts exist solely during live performances, making preservation a complex task. Tracking the existence of performing arts relies on annotations, recordings, and documents that serve as historical records of these live events. The annotations, recordings, and documentsare derived from the artist's creative process, performance management, audience feedback, artcritics, and public reception. The results of the research state that the challenges faced in archiving performing arts at ISI Surakarta include (1) the need to enhance archivists' understanding of the genesis of performing arts to trace and compile performance-relatedannotations/recordings effectively; (2) the importance of cultivating archival literacy among artists to grasp better and acknowledge the significance of documenting the creative process of their artistic works throughout production and post-performance phases; and (3) the necessity of developing an interactive digital archive for performing arts to draw the artists, the public, and users an access right to contribute authentic and pertinent records, documents, and documentation associated with specific performing arts.

KETOPRAK DOR: AWAL MULA KEBERADAANNYA DI ACEH TENGAH

This article presents how the origin of the Ketoprak Dor art in Central Aceh. This topic is interesting because the change or development of an art scene does not only occur from within the artist's creative process alone, but perhaps by the surrounding factors that influence it. So, a qualitative research approach with descriptive analysis method is the choice to investigate this phenomenon. As a result, the Ketoprak Dor art in Central Aceh, to be precise in the gampong (village) of Paya Tumpi - Kebayakan, originates from Deli, North Sumatra. There were two events that prompted its emergence: 1) in the decade of the '50s, the Ketoprak Dor group in Deli performed in Central Aceh, to be precise in Bies District. 2) still in the same decade, there were people from Medan who moved to Bies and brought the Ketoprak Dor musical instrument and wanted to sell it when they got there. Because the Bies residents were unable to make up for it, the Paya Tumpi residents agreed to it and a Ketoprak Dor arts group was formed named Langeng Madio Utomo which later changed its name to Sanggar Ketoprak Rahayu Cipto Rukun in the following decade. Even though they had been on hiatus for three decades (starting in the 1990s), in the past few years the group has been on the mend again. It can be concluded that external factors can change the motive (cause), form or style, to the meaning of the performance.

Optimization of Digital Media Art Creation Process Based on Dual Transformer Residual Network (DTRN) and Lotus Effect Optimization Algorithm (LEA)

In response to the problems of lack of intelligence, low recognition, loss of brightness, and unclear design objects in the comprehensive material painting of installation art, when materials enter the field of artistic creation, they can assist in artistic creation, but constantly updating materials is also a challenge for artists. This manuscript proposes an image processing technology in the digital media art creation based on dual transformer residual network (DTRN) and lotus effect optimization algorithm (LEA) (DMAC-DTRN-LEA) is proposed. Initially, the extracted images from the multimedia are collected from MSCOCO2014 dataset. Collected images are preprocessed to resize the image using federated neural collaborative filter (FedNCF). Later, resized images are given to feature extraction; morphological features like shape, structure, colour, pattern, and size are extracted based on synchro spline-kernelled chirplet extracting transform (SSCET). Finally, the extracted features are fed to Dual Transformer Residual Network (DTRN) for effectively classify the art images. In, general Dual Transformer Residual Network classifier does not express adapting optimization strategies to determine optimal parameters to ensure accurate art images detection system. Hence, the proposed method examined utilizing performance metrics like accuracy, precision, fl-score, sensitivity, peak signal to noise ratio (PSNR), error rate, and Structural similarity index (SSIM). Proposed DMAC-DTRN-LEA method attains 97% higher accuracy and 0.7% low error rate analysed to the existing methods respectively.

CREATIVE PROCESSES OF EMOTIONAL IMAGES: THE EFFECTS OF ASPECT RATIO ON THE EMOTIONAL AND AESTHETIC PROPERTIES OF IMAGES

Proportions are one of the primary components of successful image composition during the visual art creation process, which, in turn, is determinant of the variety of effects of images on the viewer, including emotional reactions, attention, and aesthetic preference. The importance of image width and height ratio is especially visible in the current trend to adopt the widest possible screens in a variety of modern creative media applications: photo, video, computer games, etc. In the present study emotional and aesthetic evaluations of the three most popular aspect ratios that are used in digital media devices were compared. This was achieved by assessing emotional arousal and valence ratings together with the interest and appeal evaluations of realistic photos presented in 4:3, 16:9, and 21:9 aspect ratios. The results demonstrated that the widest images did not have an inherent advantage – photos presented in the mid-wide aspect ratio of 16:9 could be considered as more effective, because they were rated as evoking the most positive emotional reactions and as the most liked pictures. This demonstrated that single design features can have an independent emotional effect, which needs to be considered in visual design aiming to evoke emotional reactions to the viewer.

MAKNA LOKALITAS “GEREJA MARIA” DI PAROKI ADMINISTRATIF MATER DEI BONOHARJO

This research aims to discover the theological reflections found in a work of art that is the result of an artist's reflection. The author intends to investigate a case study of a religious sculpture, namely the Virgin Mary, presented in an unusual manner. This sculpture located in the Administrative Parish of Mater Dei Bonoharjo, Wates, Kulon Progo, D.I. Yogyakarta, in its local context. It is a work of art with hidden theological and aesthetic meanings. The study is further deepened using a literature review method from various relevant sources. To obtain more accurate data, the author conducted an interview with Mr. Ismanto, a sculptor from Muntilan, Central Java. The research findings by the author state that the role of Mary is not only as the Mother of Jesus but also as the Mother of the Church. Thanks to Mary's motherhood, the Church also appears as a mother who nurtures the children of God. Art is a means to express the fruit of faith reflection on encountering God. Art is often viewed merely as decoration, without delving deeper into the fact that a work of art is the result of someone's contemplation. In every art creation process, there is a 'soul' left in the artwork.