Artistic Production Research Articles

Chefs Evaluate Syrup from the Wild Bigleaf Maple (Acer macrophyllum): A New Artisanal Food from Pacific Northwest Forests

This paper examines a new artisanal food product made from bigleaf maple trees (Acer macrophyllum). These trees are indigenous to, and thrive in, the moist and mild climate of the Pacific Northwestern regions of the United States and Canada. Small producers have a new artisanal product from this historically valuable tree. The sap is collected from family-owned woodland trees to produce maple syrup. To better understand the gastronomic potential of bigleaf maple syrup, we conducted sensory evaluations with culinary professionals. In this study undertaken in Oregon, the syrup from three small independent producers was subjected to sensory hedonic and attribute assessments by 62 chefs. The results of the sensory assessments and the details of the testing methods and analysis are presented. This paper examines the agreement among the chefs and the implications for the culinary acceptance of this new artisanal product. We discuss in detail (1) the complexity of flavor; (2) the most likely use of bigleaf maple syrup in various foods or as a sweetener; (3) and the four most important reasons for purchasing bigleaf maple syrup consisting of both environmental and taste attributes.

A/R/Tographic Investigation into Artistic Development Processes of Painting and Drawing Teacher Education Undergraduate Students

This study is a qualitative study designed to investigate the artistic development processes of undergraduate art education students a/r/tographically and to determine the role of portfolio preparation in this process. The present research was conducted in the workshop course of the 4th-grade students of the Department of Art and Art Education of a medium-sized university in the academic year 2022-2023 with the participation of 10 volunteer workshop students. The study group of this research was selected through criterion (purposive) sampling. The collection of the data of the research consisted of student educational development files (portfolio) prepared during the inquiry process, the question pool created, a/r/tograph opinions collected through a semi-structured interview form prepared by taking the opinions of field experts, peer opinions, expert opinions and student artistic products that emerged at the end of the process. Qualitative data analysis was used to analyse the data related to the a/r/tographic process, which is an art-based research method. Accordingly, content analysis was used in student, peer and expert evaluations of educational development files (portfolio). Students' artistic processes and a/r/tographic questioning processes were analysed using descriptive analysis. It was seen that the students were satisfied with the educational development files (portfolio) that they examined by making self-evaluation. Peers and experts who examined the educational development files (portfolio) stated that the files could generally be improved. It was observed that the students were involved in the a/r/tographic process in a determined or accidental way and that they continued the process by making inquiries. It was observed that students developed different perspectives with their artist identities and expressed themselves with process-oriented products that they reflected themselves.

Artistic Production in a Necropolis in Motion

The present article studies aspects of the artistic production at New Kingdom Saqqara, a necropolis of the ancient Egyptian royal residence city Memphis. Following a brief review of the functions of ancient Egyptian tombs, this article will first set out to scrutinize the tomb-making section of society (e.g., size, membership). Second, the corpus of tombs will be reviewed to uncover the diverse nature of the tomb owners and to investigate access to resources required for tomb making. Third, the article will proceed to place the tombs in spatial and temporal context and reflect on the artistic production in a necropolis in motion.

توظيف التكنولوجيا في تصميم الإعلان الرقمي وتمثلاتها الإبداعية في نتاجات طلبة التربية الفنية

The research dealt with the topic of (employing technology in the design of digital advertising and its creative representations in the products of art education students). The research contained four chapters. The first chapter dealt with: the methodological framework of the research, represented by the research problem that was revealed in the following question: How has technology contributed to employment in the design of digital advertising? They have no role in enriching the creative process and are represented in their artistic productions. The researcher determined the limits of the research, which were represented by the products of the students of the Department of Art Education - First Stage / College of Fine Arts/ University of Baghdad for the academic year (2020-2021), and then the researcher moved to the second semester, which included two sections. The title of the first section was employing technology artistically for advertising, and the section included the second is the creative process and aesthetic standards in the artistic achievement, and the researcher extracted a number of indicators that resulted from the theoretical framework: 1. The use of digital technical methods in employing shapes by following the technique of assembling and composing photographs, and generating a main rhythm between images and color values, served the functional aspect and the creative process of the advertising poster. 2. The computer showed a kind of diversity and excitement in the use of letters and their formal formulation in the design space. Among the most important conclusions is that the use of digital technology in the field of art education for practical academic subjects has given students the ability to diversify the styles of artistic production and facilitate the procedures used in producing these artistic works.

Evaluation of Clayey Raw Materials and Ceramic Masses from Ceramic Building Material Companies Located in Northeastern Brazil

The challenge of improving the quality of ceramic products is faced worldwide, especially in areas where artisanal production is common and the need for in-depth knowledge about raw materials, together with inefficient production processes, limits the advancement of the ceramic industry. Scientifically, detailed investigation of ceramic masses’ physical, chemical and mechanical properties can provide essential insights to optimize production, contribute to developing more advanced and sustainable techniques, and increase competitiveness. This study evaluated raw clay materials and ceramic masses obtained from northeastern Brazilian, focusing on their chemical composition, mineralogical phases, thermal behavior, and particle size distribution. Rectangular samples (80 mm × 20 mm × 7 mm) prepared using uniaxial pressing (25 MPa by 30 s) were fired at different temperatures (950 and 1050 °C) and linear shrinkage, flexural strength, water absorption, and apparent porosity measurements were taken. The results showed that the companies still need to improve the production process to meet the minimum strength requirement of 1.5 MPa according to the Brazilian standard NBR 15270.

Introduction: Political Ecologies of Paper in Early Modern Art, 1500–1800

Abstract This special issue examines paper as it became the definitive material for both artistic practice and jurisprudence. European paper made from pulped rags and linens to create the mythic white empty grounds for design was foundational to early modern European ideas about both sovereignty and the creative act. The materiality of paper—as a surface created from refuse—also introduced a form of ecological thinking into both artistic practice and political theory that recognised the value and revolutionary potential of the material world to create from the detritus of failed projects and revolutions. Surveying artistic production across the European continent and into the Ottoman empire, this series of essays examines paper as both a material force that redefined the limits of the creative act while also being inseparable from the consolidation of new political regimes emerging from the rise of early modern colonialism. Paper was both the tool of dispossession and also the grounds on which the potential of artistic practice was reimagined.

Mission (im)possible – le traducteur en tant qu’ambassadeur de l’art

This article introduces the translator involved in the translation of art titles and art albums as an ambassador for art. Given the role of painting titles in the process of interpreting a work of art, but also in identifying it from other art products, the translator, as the artist’s spokesperson, has to perform a number of actions to enable the correct interpretation and identification of the work in the target culture. This is a very arduous and responsible task, which is particularly difficult in times of new media and the unlimited possibilities of digital reproduction and distribution of cultural goods. Based on the examples of translations of the titles of paintings by selected French painters published in Polish-language albums, the author shows the translator’s responsibility for the promotion and, above all, for the protection of the identity and integrity of works of art, especially those that belong to the public domain and are therefore deprived of proper protection.

Comparative analysis of the microbiome composition of artisanal cheeses produced in the Mediterranean area

In the PRIMA project ArtiSaneFood, the microbiological parameters of several artisanal cheeses produced in the Mediterranean area have been quantified. In this pilot study, we selected four of these artisanal cheese products from Italy, Portugal, Spain, and Morocco to investigate and compare their microbiomes in terms of taxonomy composition, presence of reads of foodborne pathogens, as well as virulence and antimicrobial resistance genes. Lactococcus, Streptococcus and Lactobacillus were the most represented genera in the Portuguese and Spanish cheeses, Streptococcus in the Italian cheese, and Enterococcus, Klebsiella, Escherichia, and Citrobacter in the Moroccan products. The correlation analysis indicated a negative association between the abundance of some lactic acid bacteria (i.e., Lactococcus, Lactobacillus, Streptococcus, and Leuconostoc) and foodborne pathogenic genera, like Escherichia and Salmonella. The analysis of pathogen abundance, virulence factors, and antimicrobial resistance genes showed a strong clusterization based on the cheese type, confirming that the presence of potential human health risk determinants was higher in the artisanal products derived from unpasteurized milk that underwent spontaneous fermentation.

Cannabinoids and Genetic Epilepsy Models: A Review with Focus on CDKL5 Deficiency Disorder

Pediatric genetic epilepsies, such as CDKL5 Deficiency Disorder (CDD), are severely debilitating, with early-onset seizures occurring more than ten times daily in extreme cases. Existing antiseizure drugs frequently prove ineffective, which significantly impacts child development and diminishes the quality of life for patients and caregivers. The relaxation of cannabis legislation has increased research into potential therapeutic properties of phytocannabinoids such as cannabidiol (CBD) and Δ9-tetrahydrocannabinol (THC). CBD’s antiseizure properties have shown promise, particularly in treating drug-resistant genetic epilepsies associated with Lennox–Gastaut syndrome (LGS), Dravet syndrome (DS), and Tuberous Sclerosis Complex (TSC). However, specific research on CDD remains limited. Much of the current evidence relies on anecdotal reports of artisanal products lacking accurate data on cannabinoid composition. Utilizing model systems like patient-derived iPSC neurons and brain organoids allows precise dosing and comprehensive exploration of cannabinoids’ pharmacodynamics. This review explores the potential of CBD, THC, and other trace cannabinoids in treating CDD and focusing on clinical trials and preclinical models to elucidate the cannabinoid’s potential mechanisms of action in disrupted CDD pathways and strengthen the case for further research into their potential as anti-epileptic drugs for CDD. This review offers an updated perspective on cannabinoid’s therapeutic potential for CDD.

PERFORMANCE

Written by Kristine Stiles, an artist and Art History Professor at Duke University, “Performance” originally appeared in 1996 as the sixth chapter of the volume Critical Terms for Art History, edited by Robert S. Nelson and Richard Shiff. The essay’s goal is to theorize the genre that brings the artist as both the subject and object of the artwork. According to Stiles, performance constructs a transpersonal visual aesthetic that functions as an interstitial continuum connecting subjects through mutual identification. That identification spans from agreement to opposition but rarely achieves resolution. Central to Stiles’ interpretation of performance is her concept of commissure, which signifies the dual operations of linkage: 1. Connection, and 2. Entrustment. The author utilizes this concept and traces a brief history of performance art since the early 20th to examine Jim Dine’s work The Smiling Workman (1960). Her discussion includes artists and movements such as Oskar Schlemmer and the Bauhaus, Hermann Nitsch and the OMT, Guy Debord and the Situationist International. Stiles concludes that performance “tells a truth about art” that is based on the processes of making and the emphasis on the human body as the center of art production.

The transcendent call from aesthetic experiences

In this article, I discuss theological aesthetics in light of various descriptions of experiences of transcendence that art can provide for human beings. The American author Patti Smith describes, e.g. how works of art “call her” so that she must respond with art productions of her own. This looks similar to what German sociologist Hartmut Rosa calls “resonance”. He describes art as one of the places where an experience of vertical resonance can take place. Smith’s experiences also correspond to the description of the basic experience of transcendence of human beings as they are interpreted by the Danish philosopher Dorthe Jørgensen. However, she reduces these experiences to be immanent in nature because they are objectless. I suggest that systematic theology can contribute with a distinct theological interpretation of aesthetic experiences through a three-fold argument. First, to combine beauty and infinity in the being of God. Second, to reinterpret the notion of the incarnation as God’s continuous presence in the world. And third, by combining natural theology’s point that creation speaks of God with a reinterpretation of the artefacts that humans can create. As such, this paper proposes how systematic theology can contribute to the interpretation of aesthetic experiences of transcendence.

The Visual Culture of the Revolutionary Processes of Latin America in the Islamic Revolution of Iran: The Street and the Studio

Abstract This article delves into the artistic production of a group of Iranian painters whose work is considered revolutionary art. It shows how the murals and canvases painted during the early revolution of 1978–1979 in Iran were influenced by the visual culture of the revolutionary movements in Latin America. The study brings to light an overlooked aspect of the Global South revolutions during the Long Global Sixties. It supports the idea that the 1978–1979 “Islamic” revolution was chiefly a revolution against a dictatorship also driven by groups inspired by leftist ideology and iconography. These groups, consisting mainly of younger revolutionaries, were motivated by ideals like solidarity, anti-imperialism, anti-capitalism, internationalism, and Third World relations.

The Problem of Subjectivity in Algorithmic Creativity Organisation

The aim of the article is to study the issue of determining subjectivity, authorship and uniqueness of the results of producing the creative process, organised by the use of algorithmic calculations. Results. The article clarifies the possibility of organising the artistic and creative process using mathematical calculations, and automating the reproduction of certain manipulations, additionally, it reveals signs of the uniqueness of the corresponding generation results, and grounds the degree of automating the cultural process. The scientific novelty of the article is revealed in the process of highlighting technical assets of modern art, which, although slowly, nevertheless quite demonstratively show the potential of algorithmic computing as a stimulator of creative innovations. Among the methods used in the process of analysing the issues which are raised in the article, first of all, the analytical method has to be singled out, that is based on both historical and philosophical processes, as well as modern cultural activity. Conclusions. It is revealed that algorithmic creativity is actually a kind of mechanised production process, organised in accordance with the features of machine training, and the identified signs of stylistic imitation of traditional practices. Two types of practices for organising the corresponding creative process are established according to the degree of interaction of artists with robotic systems: practices where robotic mechanisms become “subjects of creativity”, that is they are able to produce content for organizing artistic processes; practices involving the equal interaction of robotic mechanisms and artists (for instance, in theatrical performances). The cultural process automation leads to the decrease in the artist’s participation, and weakening of his authorship, but he still has an absolute advantage in the thinking orientation. Interpretation of meaningful content is a critical problem in relevant practices. The usage of algorithms in creating art products challenges traditional methods of artistic cultural creation, as the artist’s meaning and intentions are not always clear. Evaluating further prospects for the artistic culture development requires taking into account these aspects, and recognising potential consequences of forming algorithmic creativity for the further cultural development of humanity.

The Juncture Of Musical Theatre And Theatrical Music: A Literature Review

This paper is a position paper that highlights the intersection of musical theatre and theatrical music, two art forms within the Ghanaian context that blend music and drama but with distinct orientations. The essence is to clarify blurred boundaries and lack of clear distinction between these two art forms, which often leads students of music to confusion or misinterpretation in composition and performance discourse, performance practices, and artistic production. The approach used is a review of some topical issues related to the topic to unravel the distinction to make contribution to knowledge in music composition and performance as well as other cognate disciplines such as ethnomusicology and theatre studies. It is seen that while musical theatre integrates music as a vehicle for storytelling within a staged performance, theatrical music emphasises music's dramatic qualities without necessarily conforming to theatrical conventions. The two concepts have shared elements such as narrative, emotional expression, and performance as well as some differences in structure. Understanding the two Chiasmus is key to composing works that identify the key juncture where these art forms converge, offering insights into their mutual influence in contemporary performance.

Under the Watchful Eyes of the Supreme Leader: Iranian Politics and the Art Market

Abstract This article studies the relationship between politics and the art market. It adopts the Iranian model and analyzes how the political advancement of the Islamic Republic influenced aesthetics, art production, and the art market, to highlight how a conservatively religious model—governed by theocracy—impacts an otherwise prosperous and affluent culture. As such, this study also explores the correlation between art and moral virtues within a society. According to data, exportation of Iranian art was enjoying a far more lucrative climate the world over prior to the 1979 revolution. After the Islamic Revolution, artists, collectors, art galleries, and museums were forced to carve a confined space of existence and self-expression as a consequence of the endless limitations imposed. The political realm directly affected artists’ aesthetics, materiality, subject matter, and exposure. Artists were somewhat isolated from the global art scene, and their practice was defined by predetermined moral restrictions and boundaries. As for the art market, it became a hidden and unregulated market where the sale of artworks was muddled with money laundering and illegal exchange.

Use of Indigenous Lactic Acid Bacteria for Industrial Fermented Sausage Production: Microbiological, Chemico-Physical and Sensory Features and Biogenic Amine Content

The use of starter cultures in the meat industry is common, even if the number of available commercial cultures is limited, inducing product standardisation and microbial diversity reduction. On the other hand, some artisanal products relying on spontaneous fermentation can represent a source of isolation of new interesting strains. In this work, four LAB strains derived from Mediterranean spontaneously fermented sausages were tested as new starter cultures for the industrial production of fermented sausages, in comparison to a commercial starter culture. The products obtained were analysed for physico-chemical parameters, microbiota, biogenic amines and aroma profile. A consumer test was also performed to evaluate product acceptability. The strains induced different acidification kinetics. LAB counts showed high persistence when Latilactobacillus curvatus HNS55 was used as the starter culture, while the addition of Companilactobacillus alimentarius CB22 resulted in a high concentration of enterococci (6 log CFU/g), 2 log higher than in other samples. Tyramine was detected at concentrations of 150–200 mg/kg, except for in the sample produced with Lactiplantibacillus plantarum BPF2 (60 mg/kg). Differences were observed in the aroma profile, with a high amount of 2-butanone found in the samples obtained with Comp. alimentarius CB22. These latter sausages also showed the lowest score in terms of acceptability. This study allowed us to select new LAB strains for fermented sausage starter cultures, increasing the product diversification.

A Journey Through Islamic Art Exhibition: Purification of Form, Ineradicable in Content

Throughout the years, the manifestations of Islamic art from east and west have been diverse in the formalistic aspects but united in its spiritual essence. The wide range of ornamental motifs, stylisation, placement, material, and context is constantly changing according to the current trend of the period, reflecting the historical, social-cultural and economic background it was produced. This ensues that change is inevitably bound to happen, where traditional approach in Islamic art might not be suitable to implement in the modern society due to the unavailability of precious materials and patronage as before. Despite the challenge, the “Islamic” identity in their artworks is still being discretely preserved in their expression despite implementing and combining new techniques, styles, forms, and materials with traditional approaches. This creates an asymmetrical balance that embraces change while maintaining the Islamic principle, philosophy, and spiritual allure in their artistic production where the artists design their art to be parallel and in context with modernity. However, the Islamic identity in contemporary artworks is difficult to identify and challenging to decipher as the visual expression differs significantly from traditional art forms that people are accustomed to, making it vaguely recognised and understood. This constant and dynamic flux of tolerance and acculturation is something that is being visually exhibited by the Islamic Arts Museum Malaysia (IAMM) in their special curation “A Journey Through Islamic Art” that showcases traditional and contemporary form of Islamic art in the same place. Although the curation is impressive, but the visual tension it creates invokes the mind to think deeply about what makes an Islamic art “Islamic” and what is the suitable approach to appropriately fathom and consider the art piece as a work of “Islamic art” as the physical form of calligraphy alone is not sufficient for it to be considered as “Islamic.”

DIGITAL REVOLUTION: HOW SOCIAL COMMERCE TRANSFORMS ALGERIAN ART CRAFTS

The craft sector, in addition to constituting an invaluable cultural, social and historical heritage, is a leading niche with high added value, which, associated with the power of ICT, is experiencing a major ascent like never before. Social networks are today the most widespread communication media in the world. Having as main vocation to develop the reputation of others, craft enterprises have also taken advantage of these tools to take advantage of the actions and network that each of them offers, this allows them to include handmade items in a strategy of artisanal renewal. The objective of this article is to observe, through a quantitative study with artisans’ entrepreneurs but also Algerian consumers, the impact of social commerce on the motivation and behavioral intention of Algerian consumers towards artisanal products.

Microbiological Safety and Functional Properties of a Fermented Nut-Based Product

Fermented nut-based products, obtained after soaking and fermentation, are gaining increasing interest as animal food substitutes because of ethical, environmental and health reasons. In these products, Lactic Acid Bacteria (LAB) perform the fermentation, leading to matrix acidification and contributing to controlling spoilage and pathogenic microbiota. In this work, LAB strains isolated from an artisanal product and combined with a commercial strain were added as starter cultures during nut soaking to produce a cheese-like fermented plant-based product. Three different LAB consortia were used in challenge tests at laboratory scale against Listeria monocytogenes, Escherichia coli or Salmonella Enteritidis, inoculated in nuts at 5 log CFU/g, and monitored for pathogen survival and matrix acidification. The combination of Lactiplantibacillus plantarum 82 and Leuc. carnosum 4010 resulted in faster acidification (pH value < 4.4 after 18 h instead of 48 h) and the reduction of target pathogens; L. monocytogenes was already absent after seven days from production, and the counts of E. coli or S. Enteritidis were lower with respect to other samples. Thus, this microbial consortium was used for a pilot-scale production in which, beyond safety, the fermented plant-based product was also characterized for aroma profile and phenolic compounds, parameters that are known to be affected by LAB fermentation. The results showed an enhancement of the aroma profile, with an accumulation of molecules able to confer cheese-like notes (i.e., acetoin and diacetyl) and higher phenolic content, as well as the presence of compounds (i.e., phenyllactic acid and hydroxyphenyllactic acid) that could exert antimicrobial activity. This study allowed us to set up a guided fermentation for a cheese-like vegan product, guaranteeing safety and improving aromatic and functional features.

Instinct(ive) senses: the haptic experience of feminist postpornography

ABSTRACT Is feminist postpornography a medium through which it might be possible to experience porn not only from a voyeuristic perspective? Can feminist postpornography provide a deeper sensorial experience? Through the feminist close-reading analysis of one short film, Instinct (2019), directed by Marit Östberg, Adrienne Teicher, Ester Martin Bergsmark and Mad Kate, from the Swedish feminist porn collection Dirty Diaries (2019), this article demonstrates how this kind of approach to pornography can awake senses and lead the spectators to experience porn at a deeper level stimulating an engaged spectatorship. Spectators are active agents in the construction of meaning and value of the artistic product, going beyond the mere passive role of recipient of information. The analysis employs mainly Laura Marks’s concepts of “haptic visuality” and “haptic hearing,” as well as Irina Leimbacher’s “haptic listening,” together with key insights of feminist film theory.