Artistic Strategies Research Articles

Recent trends in engineering algae for biohydrogen production: State of art strategies

Hydrogen (H2) is one of the renewable and sustainable energy since it reduces greenhouse gas emissions producing water in its purest form. However, the production of H2 from conventional thermochemical technologies needs a switchover to biological processes to avoid replenishment of nonrenewable energy reservoirs. This may include algae which switch over from oxygen to bioH2 production and simultaneously produce various renewable energy products like biomass, carbon storage products, biofuel, lipids and alcohol. On the offset, the selection of algae entrenched on its metabolic and genomic pathways to screen enzymes and genes enhancing the production of bioH2 inside algal cell is crucial. However, they can be an immense reservoir of bioH2 only if its pretreatment process is economized. The current review identifies the metabolic pathway, enzymes and genes involved for bioH2 production. The review also discusses the state of art techniques, advancements, challenges, and techno-economic aspects for sustainable bioH2 production.

Художественное своеобразие монодрамы М. Равенхилла “The Experiment”

The aim of the study is to identify the distinctive features of the monodrama “The Experiment” (2009) by the English writer M. Ravenhill. The paper examines the theoretical aspects of the monodrama, as well as carries out a comprehensive analysis of the text of the play from the perspective of its artistic originality. The analysis of the text made it possible to identify the artistic originality of the play, as well as some common, typological features of the dramatic compositions of a “plunge into the soliloquy” type (P. Pavis). The scientific novelty of the paper lies in the fact that M. Ravenhill’s monodrama has not previously been analysed from the perspective of its artistic specificity in both Russian and foreign science: this study is the first to consider in detail Mark Ravenhill’s play “The Experiment” and its artistic originality. As a result, we come to the conclusion that M. Ravenhill uses a special artistic strategy of the “theatre of cruelty”, combining the features of the classical monodrama with his own author’s modifications: the protagonist’s inner dialogue; change of the narrator; narration in the form of a stream of consciousness with violation of syntactic and logical norms; the reader’s/viewer’s identification with the image of an unreliable narrator; introduction of reminiscence as a leading visual and expressive technique.

Teaching Strategies for the Visually Impaired in Visual Arts

A 2018 study by the Eye Unit of the Ghana Health Service revealed that about 270,200 Ghanaians are blind, representing 0.74% of the Ghanaian population. Records indicate that the education and training of blind people in Ghana date back to the early 1940s. The study of Creative Arts involves experimentation and interaction with the natural environment as a problem-solving tool for national development. Creative Arts encompass Art forms like painting, sculpture, graphic designing, and ceramics. However, in the study of Arts in Ghana, certain challenges have become barriers for the visually impaired who pursue art. This is a conceptual study conducted at the University Practice School – South Campus – Ghana. It delves into the challenges that visually impaired learners are exposed to in the study of Arts and establishes if it is the end of the road for a mainstream student who becomes visually impaired along the path in pursuing the dream as an artist. The study identified that visually impaired learners can express themselves artistically once the teaching and learning process is facilitated with tailor-made teaching and learning strategies in art which directly focuses on potential art learners who are visually impaired. The study gathered that mainstream education in Ghana should be restructured to enable harnessing the potential of visually impaired learners.

Abstract 4191: Assessing performance of biomarker extraction from electronic health records: Data augmentation methods for a hierarchical self-attention network (HiSAN)

Abstract Background: Extraction of HER2 status from electronic health records (EHR) may expedite clinical trials matching and be used for survivorship research. Deep learning (DL) algorithms have potential to extract this data; however, inherent class imbalance leads to reduced model performance. We compare state of the art strategies to handle class imbalance in models trained to extract HER2 status. This comparative analysis may be used as a guideline for HER2 extraction. Methods: 680,117 pathology reports collected from 2017-2021 by the National Cancer Institutes’ Surveillance, Epidemiology, and End-Results (SEER) program were used for this study. Pathology reports are manually labelled by cancer registrars as HER2 -, HER2+, or Unknown (class ratio 65%, 11%, 24% respectively). We compare six data augmentation (DA) methods: balanced frequency weighting, ROS while up-sampling HER2+ by 595%, RUS while down-sampling HER2- by 83%, SMOTE, ADASYN, and SMOTE-Tomek. As a comparison we consider the HiSAN model i.e., a DL architecture currently used by SEER for automatic classification of reports. Result: Applying DA strategies did not improve the performance of the HiSAN model (Table 1). Frequency based class-weighting (Acc=0.78), ROS (Acc=0.81), and RUS (Acc=0.80) perform worse than the baseline model, suggesting simple data augmentation methods do not boost performance for this task. Advanced oversampling with SMOTE (Acc=0.88) and ADASYN (Acc=0.88) perform better than simple approaches, but do not improve the predictive accuracy of the baseline HiSAN. Conclusion: Common DA methods do not improve the performance of the HiSAN biomaker method. While the overall accuracy of the baseline HiSAN model is quite high, other methods for improved accuracy should be explored. Table 1. Method Accuracy (Acc) Sensitivity Specificity Precision HiSAN (Baseline) 0.8898 0.7583 0.8944 0.8507 Frequency class weighting 0.7826 0.8033 0.8932 0.7040 Random Over Sampling (ROS) 0.8057 0.7672 0.8883 0.7130 Random Under Sampling (RUS) 0.8042 0.7883 0.8930 0.6902 Synthetic Minority Oversampling Technique (SMOTE) 0.8796 0.7341 0.8827 0.8340 Adaptive Synthetic Sampling (ADASYN) 0.8764 0.7467 0.8863 0.8142 SMOTE-Tomek 0.8823 0.7620 0.8956 0.8200 Citation Format: Shalini Priya, Alina Peluso, Mayanka Chandra Shekhar, Ioana Danciu, Jordan Miller, Heidi A. Hanson. Assessing performance of biomarker extraction from electronic health records: Data augmentation methods for a hierarchical self-attention network (HiSAN). [abstract]. In: Proceedings of the American Association for Cancer Research Annual Meeting 2023; Part 1 (Regular and Invited Abstracts); 2023 Apr 14-19; Orlando, FL. Philadelphia (PA): AACR; Cancer Res 2023;83(7_Suppl):Abstract nr 4191.

Artistic Practice as Preservation Process

With its creation of fissures and fragments, the montage is uniquely positioned to question the representational power of architecture. When related to the field of preservation such a gesture conflicts with preservation's traditional urge to complete and conserve architectural heritage into a grander narrative and its underlying leitmotif of authenticity and integrity. From an analysis of Alex Lehnerer's and Savvas Ciriacidis's installation Bungalow Germania, the paper explores the possibility of an experimental and critical notion of preservation. A notion emerging from the artistic strategy of montage and its performative potential, suggesting preservation as a creative just as much as restorative field of practice.

Denormalising surveillance through curation in Face Value: Surveillance and Identity in the Age of Digital Face Recognition

ABSTRACT In spite of a range of fundamental issues, biometric surveillance has become an integral part of everyday life. Artists are creating a range of creative responses to the emergence of biometric control that critically interrogate and denormalise it. Most of the existing research in this topic however ignores the exhibitionary context in which surveillance art is usually experienced. This article shifts the analytical perspective to the site of the exhibition in order to attend to the specificity of the artworks’ critical potential – that is influenced by their spatial and narrative context, as well as their juxtaposition with each other. Specifically, it analyses the exhibition Face Value: Surveillance and Identity in the Age of Digital Facial Recognition (2021) as an exemplary case study to discuss how exhibitions can construct a multi-faceted framework through which visitors can get a grip of the ‘society of control’. Drawing on Pisters and Deleuze, this article argues that exhibitions can engender a constellation of ‘circuit breakers’ in which the biometric control of faces is disrupted through a configuration of artistic strategies. In Face Value, these strategies include exposing the black-boxed structures of facial recognition software, showing the human stories behind data and imagining alternative technologies.

The cost-effectiveness of using a prognosis-tailored strategy model to triage couples with idiopathic infertility for assisted reproduction technology

ObjectivesTo evaluate whether a prognosis-tailored triage of ART for couples with idiopathic infertility by using the Hunault prognostic model can decrease the cost of treatment without compromising the chance of live birth. Study designThis is a retrospective study conducted in an Australian fertility clinic. Couples seeking infertility consultation who were subsequently found to have idiopathic infertility after evaluation were included. We compared the costs per conception leading to live birth of the prognosis-tailored strategy with the immediate ART strategy, which generally reflects the current practice in Australian fertility clinics, over a 24-month period. In the prognosis-tailored strategy, for each couple, the prognosis for natural conception was assessed using the well-established Hunault model. Total cost of treatments were calculated as the sum of typical out-of-pocket and Australian Medicare cost (Australian national insurance scheme). ResultsWe studied 261 couples. In the prognosis-tailored strategy, the total cost was $2,766,781 and the live birth rate was 63.9%. In contrast, the immediate ART strategy yielded a live birth rate of 64.4% with a total cost of $3,176,845. Implementing the prognosis-tailored strategy using the Hunault model saved $410,064 in total and $1,571 per couple. The incremental cost-effectiveness ratio (ICER) was $341,720 per live birth. ConclusionIn couples with idiopathic infertility, assessment of prognosis for natural conception using the Hunault model and delaying ART for 12 months in couples with favourable prognoses can considerably reduce costs without significantly compromising live birth rates.

The Economic Potential of Wood Carving Art and Its Marketing Strategy in Sumenep

This study aims to reveal three main issues that are the focus of this research, namely (1) how is the potential of wood carving art in Karduluk village as an artistic and cultural heritage of the Sumenep Madura community, (2) how is the promotion strategy of wood carving by craftsmen, and (3) what is the role of the government area in promoting the wood carving art of Karduluk village as the center of the craft industry in Madura. This study uses qualitative research to explore the promotion strategy of Karduluk village carving as a cultural heritage of the Madurese community. Data collection techniques in the field use three techniques, namely observation, interviews, and documentation. Meanwhile, the analytical method used is deep analysis to process empirical data in the field. In conducting data analysis, the researcher carried out several stages: data reduction, presenting empirical material, and verifying. There are three main findings in this research. First, is the potential of the wood carving art in Karduluk village, namely the economic potential, the potential for carving tourism development, and the potential interest of foreign consumers. Second, promotion strategies for wood carving art are done by participating in art exhibitions, personal selling, online promotion, increasing the variety of wood carving art models, maintaining product quality standards, and mentally competing. Third, the role of the government in promoting the wood carving art of Karduluk village, namely holding an exhibition of wood carving art products, establishing Karduluk village as a carving village, providing marketing capital assistance, assisting in partnership, and facilitating business licensing.

State of the art of open-air rock art as World Heritage site: past, present and future

Since the 1970’s to the present day, our notions of world heritage and archaeological heritage have changed greatly, a fact that is reflected in the different conventions and charters of ICOMOS and UNESCO. In this research we explore what these changes have been, the state of the art of rock art worldwide, and what are the trends towards the future of heritage declarations, delving into the specific case of outdoor rock art, since its fragile and accessible nature requires specific management plans appropriate to its needs and characteristics, and how the growing trend of naming cultural landscapes as world heritage can be a powerful tool for the conservation, protection and dissemination of these heritage assets and their environments. The main objective of our research lies on the identification of the main features of open-air rock art on the UNESCO World Heritage List, establishing their current situation as to their preservation and social awareness and the policies developed in each particular case. This will be done through research and bibliographical approximation of various research sources, as well as official resources already mentioned: World Conventions, recommendations and ICOMOS charters as reference instruments in the declarations and management strategies of archaeological heritage and rock art.

The Waste Land: Eliot’s Neo-Empire

Thomas Stearns Eliot's The Waste Land is a mysterious enigmatic text in both its form and content which still invites many critics and reviewers to an infinite range of interpretations finding in it a striking departure from nineteenth century poetry and raising the flag of modernism and postmodernism. Its appearance in 1922 started a critical debate among critics who found it hard to place both because of the poet's complex artistic strategies and because of the poem's kaleidoscopic orchestrated structure. From this perspective, the present paper is mainly concerned with the poem’s kaleidoscopic structure highlighting the text's intertextuality, heterogeneity and multiculturalism. It seeks to re-read and investigate the poem from the perspective of Edward Said's Postcolonial theory proving that the poem’s encyclopedic structure achieves for the poet a form of Neo-Colonialism where the poet’s intellectual domination replaces the territorial one. The study concludes by showing that The Waste Land is an early example of postmodernism where the text becomes the poet’s Neo-empire.

ИЛЛЮСТРАЦИЯ 360° В СОВРЕМЕННОЙ ВИЗУАЛЬНОЙ КУЛЬТУРЕ

The object of the article: the works of contemporary artists working with the 360° format and creating the so-called. "spherical illustrations" or 360° illustrations, controlled panoramic images. Works were selected as material, reflecting the types of strategies for the work of artists with this medium, demonstrating the connection between the artist's intention and the formal, structural solution of the work. Subject of the article: the specifics of 360° illustration, its expressive possibilities, as well as the strategies of artists who turn to this format as an instrument of aesthetic impact on the viewer in the context of the modern communication society. The study is devoted to the actively developing phenomenon of 360° illustration, which is currently becoming increasingly popular among artists and delineates new aesthetic horizons for illustration as an art form. The main goal of the study is to identify the specifics of the phenomenon of spherical illustration in modern visual culture, the contextualization of 360° illustration in the field of modern visual culture. The author made the following conclusions: the 360° illustration is the ultimate version of the structure of the classical pictorial image with a direct perspective, which at the same time carries out a “Copernican revolution” in terms of the viewer’s attitude to the artistic image (from a passive recipient, he turns into active interpreter and co-author of the artist), thus, on the one hand, illustrators get to expand the repertoire of their own expressive means (partly borrowing the techniques of screen arts), and, on the other hand, the viewer gets the opportunity to be "inside" the image and experience it as a subjective aesthetic experience.

Межпарадигмальность как состояние современной музыкальной культуры

The aim of this article is to define the problem of the “laminary” state of contemporary musical culture, in which various paradigms of artistic experience that have emerged and established in different periods of cultural history coexist and actively interact with each other. The cultural paradigm is comprehended as a complex hierarchical integrity formed by an internal unity of ideas, intuitions, and feelings that permeate the entire vertical of life. The classical and non-classical universal models of culture with their local-historical and metahistorical dimensions are present at the highest level of paradigmatic generalization. The internally heterogeneous classical paradigm reflects the demand for a creative attitude towards clarity, completeness, perfection, rationally comprehensible order and harmony. The non-classical paradigm, marked in musical creativity from the first modernist experiments to the postmodernist playing with the near and distant past, manifests the setting of “breaking down” traditions, overcoming the inertia of the past, as well as bringing in radical experiments in the field of sound and its organization. Against the background of the “fatigue” from postmodernism at the turn of the 20th and the 21st centuries in music scholarship, there are broad discussions currently happening of such concepts as post-postmodernism, metamodernism, and postnonclassics, all of which assert a breakthrough toward new strategies of art. At the same time, none of these tendencies that lays claim to paradigmatic significance reflects a holistic picture of the art of music in its aesthetic, stylistic, and linguistic plurality. Perhaps the important reason for this is the tendency to remain in the simultaneity of the different models of artistry. This way, it seems natural to examine the borderline artistic phenomena in the direction of interaction of paradigms. In order to determine the relevant processes in music culture, the productivity of the introduction of the term “interparadigmality” is substantiated. Among the key parameters of interparadigmality, the author identifies the simultaneous relevance of various cultural modes, aesthetic values, and genre-style models. Interparadigmality, which fixates the openness and mobility of the boundaries between different cultural models, corresponds with the concept of crisis (as being at the border), with the idea of “creolization” and “creolized systems” (the definition of Yuri Lotman), and the terminology of the “philosophy of instability” created by Ilya Prigozhin. At the same time, it is particularly interparadigmality, by bringing chaos to the borderline areas of paradigm interaction, which becomes applicable to the search for a holistic approach to contemporary musical realities.

Design Intervention: An Artistic Strategy (A Strategy) to Minimize Text Fading and Metal Commemorative Plaque Theft in Ghana

The Commemorative Plaque Industry thrives at the hands of the local craftsmen in Ghana. Techniques, methods, tools, and materials used as handed to them by their previous masters have remained the same over the years. As a result, plaques produced had peculiar problems such as text fading, degrading the actual effect of the plaques. Additionally, metals once widely used for making plaques devoid of text fading in the industry seem to have lost their relevance due to metal plaque theft, rust on metal plaques, and the continuous rise in metal prices. This research uses descriptive, experimental, and case studies of the qualitative research method to examine the problems associated with locally produced commemorative plaques. A total of hundred (100) artisans, including metal scrap dealers, and plaque buyers, were selected for the study. Direct observation and face-to-face interviews were conducted with the local craftsmen, art lecturers and students, scrap dealers, and plaque buyers who were purposively sampled for the study. The study revealed that existing materials like ceramic and aluminium could be integrated innovatively to produce commemorative plaques devoid of text fading; a corrosion-resistant text could be made using anodized or coated metals used in smaller quantities to reduce costs while also making them unattractive for theft and lastly, silicone sealant was found to be a viable option for permanently inscribing text on porcelain bases. The results clarify and underline the necessity to grow the local plaque industry in terms of plaque production as another essential basis to assure high-quality plaques with no text fading that will survive for generations to serve their intended purpose.

Estratégias Artísticas na Videodança Fôlego: escravidão e necropolítica em Campinas (SP-Brasil)

ABSTRACT Artistic Strategies in the Screendance Fôlego: slavery and necropolitics in Campinas (SP-Brazil) – This article explores the screendance Fôlego (2018), whose theme addresses the violence practiced against black bodies in contemporary times. To that end, this work presents a brief overview about the historicity of slavery in Brazil, in particular, about the city of Campinas (SP), place of creation of the work, based on the concept of necropolitics (Mbembe, 2016). Therefore, the article discusses the virtual process of creation in screendance (Angeli, 2020), contributing to the debate about the different territorialities of the performance and the political and social provocations in dance.

Analysis of communication strategy of Guzheng art based on artificial intelligence

The current situation of the spread of guzheng art is not good, and the continuous development may lead to the disappearance of the art of guzheng. Therefore, it is necessary to help the art of guzheng to continue to spread in the modern environment. On this basis, this paper will research on the basis of artificial intelligence, mainly introduces the basic concept of artificial intelligence, and then puts forward the idea of coping and the method of thinking. Research shows that artificial intelligence has high application value in the communication of guzheng art. Combining ideas and methods, artificial intelligence can play a role in helping the communication of Guzheng art. Continuous circulation can change the communication status and reverse the elapse of guzheng art.

Research on the development strategy of red art in Jinzhai County

Research on the development strategy of red art in Jinzhai County

Participatory culture or co-creation: rethinking the ways of culture production

The democratic processes that constantly accompany modern society lead to an increase in the activity of ordinary citizens in all spheres. There is a transition from impersonal production to individualized production, from passive consumption to active participation in the creation of various cultural products. Therefore, active and meaningful human participation in socio-political, cultural and artistic processes, which shifts attention from inert consumption to participation in decision-making, or the creation of cultural or artistic projects, or the collective formation of new meanings and values, is defined by foreign researchers as “participatory culture”, and by Ukrainian researchers as “culture of participation”, “co- creation”. It is understood as an urgent requirement for almost every social phenomenon, from grassroots democracy to the implementation of artistic strategies. Participation implies an interest in certain joint activities for self-realization and satisfaction, which is realized through the implementation of own ideas and creative plans, and in the artistic space, the culture of participation leads to co-creation of the creator and the viewer, active co-creation. Artistic cultural practices (street art, immersive theater) are seen as not only offering interactivity, but also giving the viewer subjectivity, making him or her visible through personal experience of perception, feelings, emotions, and experiences. Despite the fact that the participants of a joint creative act often produce not cultural artifacts, but only meanings, a new meaning-making is created, and thus new ways of producing culture are born in joint creativity.

The image of Borys Grinchenko and its contexts in Maryana Angelova’s play “The Grinchenko Syndrome”

The article examines Maryana Angelova’s play “The Grinchenko Syndrome”, which modelled the author’s artistic version of the dystopian transition of the Ukrainian language to the status of “dead” when it is not used all the time, as well as the situation of its recollection and “revival”. The guides of this “reincarnation” of the language are the unique 4-volume Dictionary and its compiler, Borys Grinchenko. It is not by chance that the author labels the genre of the work as “vocabulary drama”. The relevance of the study is determined by the fact that the problem of a radical revision of the catalogue of personalities, key to Ukrainianism today, is directly related to the development of the decolonial Ukrainian identity, memory studies, and revision of the Ukrainian cultural pantheon, which is difficult to imagine without the figure of Borys Grinchenko, who fits into this pantheon quite sporadically. The subject of the article is the analysis of artistic strategies of non-biographical writing involved in the creation of a biographical image in modern drama, the object of which is the text of Maryana Angelova’s play “The Grinchenko Syndrome”. The goal is primarily to present and interpret an interesting dramatic work. This text, created in 2013, is interpreted from positions relevant for literary studies in 2023, against the background of the war for Ukrainian identity in the face of Russian aggression. The research methodology is based on identity theory, modern Ukrainian memory studies, ecocritical writing theory. The study's novelty can be seen in the fact that the play's text was analyzed for the first time, and ways of studying it were created for philological researchers and modern theatre practitioners. As a result of the research, it was concluded that Maryana Angelova appeals to the ancestral collective linguistic memory of many generations of Ukrainians, creating the polysemantic and polyvariate image of the Dictionary as its meaningful and verbalized territory. She offers many artistic anti-colonial manifestations, centred around repressed Ukrainian letters, forgotten meanings, dead words, dictionary pages forever destroyed by censorship, backward language, linguicide, and xenoglossy coma. The 4-volume dictionary is mentioned more frequently in the play than its biographical compiler. Instead, the image of Borys Grinchenko himself, while retaining several biographical micro-plots, essentially loses its actual biographical character and acquires the mythological features of the “heavenly Grinchenko” — the “ancestor” of the modern Ukrainian linguistic personality.

VISION OF HUMAN STAGNATION IN THE ANTHROPOLOGICAL PARADIGM OF SCIENCE FICTION: AN ANALYSIS OF «SOULMATES» BY M. RESNIK AND L. ROBIN

The present article is an in-depth examination of the American science fiction story «Soulmates» by M. Resnick and L. Robyn, centring on its articulation of a vision of human stagnation in the face of technological advancement. The paper scrutinises the philosophical and existential dimensions embodied in the artistic representation of the world within this particular work, particularly focusing on issues concerning individual freedom and moral accountability. The article posits science fiction as a multifaceted analytical tool for investigating the constraints and potentials of human transformation within a perpetually evolving world. The story by the American authors is elucidated as a complex allegory, critiquing both existing social systems and technological transformations, whilst advocating a reassessment of what it means to be human in an increasingly mechanised environment. The study positions "Soulmates" as a paradigmatic work in the genre of science fiction owing to its salient reflections on ethical, existential, and cultural issues, which are directly pertinent to the pressing dilemmas of our contemporary epoch. Additionally, the article explores the inherent contradiction within the genre of science fiction: speculative futures laden with technological revolutions often depict a humanity that remains conspicuously static. Such apparent stasis is not a shortcoming of imaginative faculty but rather constitutes a deliberate artistic strategy. Authors of science fiction may employ this vision of human stagnation to explicate particular social and technological phenomena.

Визуальный облик города и городская коммуникация средствами паблик-арта: российский опыт

This paper examines the dynamics of public art in Russia, explores the diversity of contemporary art forms beyond exhibition halls, and analyses the impact of public art on the image of “central” and “peripheral” areas, as well as on its role in urban communications between the main groups of interested parties. A review of various Russian studies provides an interdisciplinary look into the subject of public art and its evolution over time from a rather narrow definition to a wide variety of interpretations implying many new issues and concepts. Researchers attribute the increasing popularity of this artistic strategy to a combination of multidirectional factors, including the growing interest among municipal and regional authorities in public art as a driving force of territory development; a rising number of curatorial projects aimed at interacting with space and environment in the context of the festival and biennial movement and art residencies; the emergence of grassroots art organizations and initiatives as modes of making artistic or public statements. Remarkable progress in digital technologies prompted attention to the creative potential of digital forms in public art, which open up new possibilities for interaction at the interface of objective and virtual reality. Some of the conclusions suggest that further development of public art presupposes more attention to its social nature and the ability to create social ties through a polylogue between different groups of city dwellers. To encourage the development of urban art based on the principles of social justice, Russia needs to foster a culture of participation as opposed to social atomization. The creation of professional organizations, legitimization and support of grassroots initiatives and artistic self-organizations may prepare the groundwork for this process.