Context Of Art Research Articles

“The Sun Doesn’t Shine Like in ’85”

Abstract The legacy of Yugoslav music re-emerged in Serbia and in the wider post-Yugoslav cultural space during the 2000s, as the historical distance and growing dissatisfaction with capitalism led artists to reach out to the Yugoslav socialist past. This has taken many directions, from the reigniting of fandom of ex-Yugoslav music stars and the creation of tribute bands, to the renewal of interest in songs from World War ii and the composition of new music echoing Yugoslav memories and re-framing Yugoslav popular songs in the broader field of contemporary artistic practices. Most socio-musical formations and cultural scenes that have been fashioned after the break of Yugoslavia either rearticulated and incorporated particular sound legacies strongly associated with Yugoslav socialism or emulated its ‘ethos’ by contrasting the present with ideas and practices of Socialist Yugoslav society. The author will focus on female performers and authors, as well on the smaller socio-musical and artistic contexts related to the feminist movement. By acknowledging, comparing and interpreting the contributions of female and feminist artists / activists in Serbia who use music as a tools for social critique, the article offers an insight into a complex intersection between gender, ideology, and politics of remembrance ‘after Yugoslavia’.

MARILLION’S CLUTCHING AT STRAWS

This research provides a comprehensive and interpretative narratological analysis of the album “Clutching at Straws” released by the British progressive rock band Marillion in 1987. It explores the lyrical narrative, central themes, musicality, and structure of the album, as well as the historical, emotional, and artistic context of the band at the time the work was recorded and released. To achieve this, we draw upon the theoretical framework of authors such as Herman (2009), Genette (1972,1997), Reuter (2002), Bakhtin (1975), and Graudeault (2004). We believe that the narrative depth and emotional charge of the album make it a captivating topic for narratological analysis, offering a possibility for investigation into the power of narrative in the musicological context.

“Three-Quarters of an Hour to Consume Everything”: Dorian Gray and Commodified Aesthetics

This paper examines the commodification of aesthetics in Oscar Wilde's only novel, The Picture of Dorian Gray (1890). The novel is most extensively investigated within the artistic context employed, where Wilde’s approach to art, aesthetics and beauty is regarded as surviving on a transcendental ground. Indeed, despite his identity as a decadent of fin de siècle Britain, and his depreciating critique of the middle and working class for their material pursuits, Wilde gets conceptually closer to the capitalist stream of consumption. The novel ostensibly highlights aestheticism, and hence, art living for its sake on the lines of the manner Wilde launches himself to the world of artistry and literature, particularly through the characters of Dorian Gray, Basil Hallward, and Lord Henry. However, the deep desire to experience artistic pleasure and beauty, as illustrated mainly by Dorian, gets along very well with, and ends up as, the British materialist pursuit. Dorian’s initial position as the embodiment of beauty degenerates due to the same dynamic of beauty commodifying itself, and so, the others implementing it. The very commodities where aesthetic pleasure is sought commodify the aesthete. Wilde's use of ornamental and decorative elements, Dorian’s search for eternal youth, and the whole structuration of aestheticism in the novel necessitate a political reading of the text, calling for the recognition of colonial, material and modernist platform the narrative deeply bases itself on.

The Vocal Cycle “Machines Agricoles” As A Manifestation Of Darius Milhaud’s Creative Credo

ABSTRACT The purpose of this study was to identify the key aspects of Darius Milhaud’s creative credo through the lens of the vocal cycle “Machines agricoles”. The musical elements in the vocal cycle were investigated to analyse its composition. The study of Darius Milhaud’s work, including his vocal compositions, revealed the influence of historical events, cultural and social trends on his music, considering the context of the time. The study also covered the unique features of Milhaud’s creative style in this particular vocal cycle. Additionally, the socio-cultural aspects of the period were highlighted. The analysis of the vocal cycle “Machines agricoles” underscored its significance in the artistic context. Therewith, issues that cause differences in its interpretation were identified. Reflecting the interaction with the cultural context and personal feelings, this cycle is not only a piece of music, but the embodiment of a new understanding of human and nature. The analysis of the composition and aesthetic aspects of this cycle revealed the profound significance of Milhaud’s creative principle. This study opened new perspectives for understanding Milhaud’s creative legacy and contributed to a broader understanding of the art and cultural context of the time. The study of the vocal cycle “Machines agricoles” by D. Milhaud helped to expand the understanding of the composer’s creative heritage and his approach to composition. The study highlights Darius Milhaud’s unique musical techniques in vocal cycles, offering insights into his creative process. It underscores Milhaud’s significance in 20th-century music and his impact on musical culture.

Applying A/r/tography as a creative community resilience strategy in response to the climate emergency

ABSTRACT This paper connects arts education creative practice and the rise of climate emergency discourse with community resilience policymaking. We apply a creative-relational approach informed by the principles of a/r/tography to position community stories as central to place based transformation. Through our Guattari-inspired conceptual model, we apply the a/r/tographic method to critically explore its suitability for identifying and mapping hidden community stories — traces of a new ecosophy — as a local resilience response. Our research took place in North Lanarkshire, Scotland, as part of a creative programme commissioned to address inequalities through the arts. We entered into artistic dialogue with community creative practices that occurred at two ecological sites, creating reflective textual and visual artworks to produce alternative representations of place that challenge dominant narratives within local resilience policymaking. These mutual creative engagements informed our findings while remaining within their artistic context rather than reduced to categorised themes. This work offers a new local resilience strategy to strengthen community representation of their places.

Brilliant blue: The blue rock art of Awunbarna, Northern Territory, Australia

Within the extensively painted rockshelters of Awunbarna (Mt Borradaile) in western Arnhem Land, appears a cluster of paintings that are conspicuous amongst the traditional white, red, yellow, and black figures. Brilliant blue pigment has, for generations, captured the imagination of local Aboriginal community members and visitors, including rock art researchers. This rock art was created using laundry whiteners (such as Reckitt’s Blue) during a period of intense change in the region brought about by European arrival. This paper explores the largest documented cluster of laundry blue rock paintings in northern Australia. We investigate the subject matter, distribution, and manner of use at Awunbarna alongside its broader cultural and artistic context. We find that laundry blue rock art emerges as part of a flurry of innovative rock art being created in this region at the turn of the nineteenth–twentieth century and continuing, in rare instances, until the 1960s. We argue that blue paintings and the Painted Hand Figures represent two relatively short-lived, innovative experimental phases within an art-making tradition with Awunbarna as the epicentre for this rock art movement. Likewise, we suggest a very small number of artists may be responsible for the blue rock art of Awunbarna indicating its use may have been restricted to artists of a certain status.

Intangible heritage restoration of damaged tomb murals through augmented reality technology: A case study of Zhao Yigong Tomb murals in Tang Dynasty of China

Tomb murals are a precious amalgamation of tangible and intangible heritage, encapsulating profound historical significance and aesthetic value. While tangible heritage often gains more attention than intangible heritage in cultural protection, it is still imperative to acknowledge that intangible heritage complements and substantiates the historical, cultural and artistic context. Tomb murals contain intangible heritage elements such as religious practices, customs and artistic techniques. Tomb murals from the Tang Dynasty of China showcase the cultural richness of both tangible and intangible heritage. Nevertheless, there are many challenges to the protection of Tang Dynasty tomb murals. In light of these challenges, the current study aims to protect the intangible heritage embodied in Tang Dynasty tomb murals through augmented reality technology. A Tang Dynasty tomb, the Zhao Yigong Tomb, has been selected as the research object. Seven murals from this tomb were restored using a process involving two-dimensional and three-dimensional modelling combined with augmented reality (AR) technology. Throughout the restoration process, the current study explores the impact of religious customs associated with the Zhao Yigong Tomb on mural contents and artistic techniques. The scenes depicted in these seven murals were integrated into an on-cloud AR platform to establish an effective process for protecting intangible heritage in tomb murals and stimulate further research, design and development. This study identifies the target audience as researchers, educators and college students interested in history, art and culture. To evaluate the current study, researchers and educators with relevant working backgrounds and college student participants with different backgrounds and interests were invited to test the AR application in the field, followed by one-to-one interviews for a usability assessment. The usability assessment shows that the AR application is widely accepted. In addition to adding information interactively, it helps the audience to improve their understanding of Tang Dynasty art and culture.

Integrating art and culture into modern architectural buildings in Nigeria: The cases of Akure, Benin, and Ibadan

Modernism in architecture has witnessed the erosion of traditions, art, culture, and beliefs of Indigenous southwestern Nigerians in recent architectural developments. This phenomenon has stripped most modern buildings, especially in southwestern Nigeria, of their cultural values. This study delves into the historical context of Nigerian art and architecture, highlighting the need for a paradigm shift toward a more culturally inclusive approach. It investigates various strategies and presents examples of successful integration, including the utilization of traditional materials, incorporation of indigenous motifs, and collaboration with local artists and craftsmen. This research examines three cultural center buildings where the architects have endeavored to integrate the art and culture of the people of southwestern Nigeria into contemporary architecture. The case study method of inquiry was adopted for this research, combined with detailed observation and analysis of digital photographs of these buildings. The study highlights the relevance of art and culture in recent architectural developments in three southwestern Nigerian cities: Akure, Benin, and Ibadan. These cities were selected because of their historical backgrounds and rich cultural affiliations that reflect the art and lifestyle of their localities. The cases studied were cultural center buildings because these building types are purposely built to reflect the culture of the people. Findings from the study reveal that some modern buildings still imbibe the art and culture of the people, while others incorporate these elements in more subtle ways, such as mural paintings and relief sculptures on walls. These features connote cultural expressions and representations of Nigeria’s heritage, which should not be forgotten but preserved for future generations.

Il disegno dei sogni

This article explores the multifaceted concept of dreams within the context of contemporary art. It examines how the term "dream" is interpreted and represented by different artists and their works, specifically in the exhibition "Dream: Art Meets Dreams" curated by Danilo Eccher. The exhibition is described as an allegorical journey into the deepest parts of the human soul, touching on desires, expectations, and fears. It showcases how dreams serve as a channel to access the unconscious and spiritual dimensions, influenced by Freudian thought. The article also delves into historical perspectives on dreams, from Plato to modern neuropsychology, and how these perspectives shape our understanding of dreams as both a personal and universal phenomenon. Through the analysis of various artworks and artistic approaches, the article highlights the ongoing dialogue between dream imagery and its aesthetic and symbolic significance in both historical and contemporary contexts.

Analysis of the Role of Augmented Reality in Bringing Works of Art to Digital Spaces

Augmented Reality (AR) has become increasingly popular in the art world as a medium for bringing traditional works of art into the digital space. This research aims to analyze the role played by AR technology in the process of transforming works of art from the physical environment into the digital domain. This approach pays attention to the technical aspects, aesthetics and cultural impact of applying AR in digital art exhibitions. This research method involves literature analysis, case studies of various art exhibitions that use AR, and interviews with artists, curators, and exhibition visitors. Qualitative data was analyzed thematically to identify emerging patterns and trends in the use of AR in artistic contexts. The research results show that AR has great potential to enrich the visitor experience in digital art exhibitions by providing interactive and contextual layers that cannot be accessed through conventional mediums. Additionally, AR can also act as a tool to convey additional narratives, broaden the interpretation of works of art, and increase visitor participation in the creative process. The research also identified several technical and conceptual challenges associated with the use of AR in art, including issues of technological sustainability, accessibility, and artwork integrity. Nonetheless, overall, this research highlights the great potential of AR in bringing works of art into digital spaces and provides valuable insights for the future development of digital art exhibitions.

ReconFIGURE: Confronting Audiences with Digital Doppelgängers

This paper describes the artistic context, technical implementation, user study, evaluation and future work around reconFIGURE, a participatory installation exploring the transformation of human bodies through computational systems. The installation involves capturing visitors' images, transforming these into animated 3D doppelgängers, and projecting them on a large-screen. Unique in its rapid transformation from 2D to 3D, reconFIGURE highlights the aesthetic-social repercussions of transforming whole human body images using machine learning.

Inter-Art Dynamics of Kalapremi’s Artworks: A Critique of Contemporary Nepali Arts

The 'inter-art' refers to an artwork that is composed of more than one art form of the visual arts, such as sculpture, painting, video art, photography, ceramics, installation, performance, etc., showing the relationship between them. This study reveals the idea of inter-art relationships in the works of Gopal Kalapremi Shrestha, widely known as ‘Kalapremi’. The main objective of this paper is to explore the inter-art dynamics of Kalapremi’s artworks. The paper also aims to identify the key art genres in the creations of Kalapremi and to discuss the underlying meaning of his style. The paper reveals the importance of having multiple skills and techniques for an artist in today's contemporary art contexts. The effect of the inter-art relationship shows the dynamism, progressiveness, limitlessness, and unconventionality of an individual art practice. It mainly focuses on the inter-art relationship as a major tool to analyze creativity.

CT integration in STEAM learning: Fostering students’ creativity by making Batik stamp pattern

Creativity and problem-solving are 21st-century skills that we need to develop in our students. Research on computational thinking (CT) integration in school subjects and STEAM activities has shown a positive effect on students’ problem-solving skills and creativity. Our study extends our previous work from the integration of CT in a mathematics lesson into a STEAM lesson to develop students’ creativity. Our Math + CT activities have been developed through educational design research (EDR), and now we have added the context of arts (Batik), science (beeswax and coloring), and engineering (3D modeling and printing). Online learning was conducted with pre-service teachers and high school students. We facilitated digital fabrication by asking students and pre-service teachers to create their Batik stamp pattern from 2D to 3D to be printed. Data were collected from participants’ GeoGebra and 3D files they had created. We analyzed the data descriptively and presented participants’ creations. The result showed that students could extend their limited coding and programming knowledge to create the Batik patterns. Moreover, within a limited time, the artwork they designed significantly differs from the initial figure introduced to them. We also presented the realistic 3D-printed Batik stamp and how it worked and our limitations.

P-342 Improving consent procedures to increase oocyte donation rates

Abstract Study question Can consent procedures for donation of surplus frozen oocytes be changed to improve donation rates? Summary answer Obtaining informed consent for donation of oocytes after freezing could be improved by adapting new consent procedures used in genomic biomedical research for ART contexts. What is known already The widespread adoption of oocyte cryopreservation has led to a rapid accumulation of oocytes in cryostorage, since the number of people who return to use their eggs remains low. Previous studies show that many people intend to donate their surplus cryopreserved oocytes, but few people actually donate them. Increased rates of donation are required to address chronic shortages of eggs available for both reproductive and research purposes. Study design, size, duration This paper examines whether advances in consent procedures in genomic research and biobanking, such as Dynamic Consent interfaces, could be utilised within the ART context to improve patient experience and oocyte donation rates. Ethical issues with dynamic consent are considered as well as the possible benefits of such a system for potential donors and recipients of oocytes. Participants/materials, setting, methods This paper undertakes ethical analysis of the procedures used for obtaining informed consent in egg freezing for donation of surplus eggs. We consider whether these could be improved and argue that adapting advances in consent procedures, such as dynamic consent interfaces, may help to facilitate donation, with benefits to both donors and recipients. Main results and the role of chance While people freezing eggs often express an intent to donate eggs surplus to their own needs at the start of the freezing process, in few cases does this translate to actual donation. Current processes seek consent for donation at limited times throughout the cryostorage period. Further, some countries such as Australia require that eggs be donated to specific active research projects at the time that eggs are to be relinquished from storage. Factors such as these impede donation and fail to facilitate the initial expressed intent to donate surplus eggs. We hypothesise that consent processes can be improved in ways that may boost rates of donation while still satisfying the requirements of informed consent. Dynamic consent allows continuous review of consent decisions through an online interface. Adaptation of this approach to the context of egg cryopreservation and donation may have several benefits, as continuous communication and review opportunities encourage patient engagement. It may enhance understanding of the need for eggs and increase knowledge of opportunities to donate surplus eggs. While dynamic consent may benefit both potential donors and recipients, careful implementation would be required to ensure compatibility with counselling requirements and other ethical standards for reproductive donation in particular. Limitations, reasons for caution We consider the potential benefits to donors and recipients but do not analyse the costs of implementing such a system of consent for clinics. Further, specific clinics may have consent procedures that differ from the model we use here and may be constrained by regulatory contexts Wider implications of the findings Recent research suggests that cryopreserved oocytes are rarely used or donated. Improving procedures for obtaining informed consent promises to increase rates of donation and improve patient experience. Dynamic consent tools have been widely used in biobanking and genomics research to positive effect but would be novel within the ART context. Trial registration number Not Applicable

Fashioning identity and resistance: Shilpa Chavan's HUM (we/us)

ABSTRACT Shilpa Chavan's short film HUM (we/us) blends fashion design, filmmaking, and social critique into a powerful artistic statement. This essay examines Chavan's innovative approach, exploring how she has collaborated to craft a visual and sonic narrative about identity, resistance, and community through a lens of postcolonial India. The analysis employs multiple theoretical frameworks, including gender theory, critical fashion practices, postcolonial studies, psychoanalysis, and sound analysis. Chavan's use of recycled materials and hybrid aesthetics creates a critical space for reimagining fashion's activist role in society, challenging dominant norms while envisioning new possibilities. The essay situates HUM (we/us) within the context of contemporary Indian and international art, drawing comparisons with works by artists such as Tejal Shah, Pushpamala N., Isaac Julien, and Zanele Muholi. It also examines the film's social and cultural impact, its critical reception, and its potential influence on future artistic practices. Through detailed analysis, HUM (we/us) emerges as a compelling example of interdisciplinary art practice sparking meaningful dialogue about complex social issues, demonstrating the power of art to challenge hegemonic narratives and imagine alternative futures.

Maṇḍala or Sign? Re-Examining the Significance of the “Viśvavajra” in the Caisson Ceilings of Dunhuang Mogao Caves

This article delves into the exploration of a significant sign, the “viśvavajra”, found in the caisson ceilings of Buddhist esoteric art in Dunhuang’s Mogao Caves. These caissons, featuring the viśvavajra sign in the center, were prevalent from the mid-Tang period to the Western Xia dynasty (ninth to thirteenth centuries) and are recorded by The Overall Record of Dunhuang Mogao Grottoes under description as “Jiaochu Jingxin”. Similar caissons are also found in Western Buddhist Caves near Dunhuang, and Yulin Caves in Guazhou County, indicating a distinct regional character. Focusing on a well-preserved and intricately detailed example from Cave 361, this article aims to elucidate the specific tantric significance of the viśvavajra at the center of the caissons within the broader context of Buddhist art. Drawing from related tantras, the discussion explores how the sign and its surrounding compositions align with a particular homa (fire offering) maṇḍala, specifically the śāntika maṇḍala crucial to numerous Tantric Buddhist rituals. Furthermore, the article examines the evolution of caisson of this type of maṇḍala over time. By comparing the mid-Tang example from Cave 361 with the late Tang period’s Cave 14, a noticeable shift in format becomes apparent. The viśvavajra sign takes on new significance, embodying “the samaya of all Tathāgatas”. Ultimately, the article explores how the significance of the viśvavajra sign transforms into an allusion to Vairocana or Rocana under the Sino-Tibetan Esoteric Buddhist context in the Hexi Corridor during the early Northern Song and Western Xia dynasty.

Derzhavin’s authorial myth

The article characterizes the concept of G. Derzhavin’s personality, which he constructs in his poetry. This concept is considered as an authorial myth, an author’s myth-making. In his poetry, Derzhavin creates an image that directly correlates with his life and personality. When creating many poems, he associated them with specific biographical facts; thus, in the artistic context and the author’s interpretation, the image of the lyrical hero in Derzhavin poetry acquires certain mythological features. The purpose of the study is to identify the key texts and cross–cutting principles that form the basis of G. Derzhavin’s authorial myth. The article analyzes his poems “Felica”, “Philosophers. Drunk and Sober”, “God”, “Monument”, “To Tonchiy”, “Freedom”, “To Myself”, “To Eugene. Zvanskaya's Life”, “Recognition”. As a result, the main aspects of G. Derzhavin’s authorial myth are revealed, in which Derzhavin appears to the reader as a statesman, poet, philosopher, landowner and an ordinary person with his inherent weaknesses. This myth is based on a moral position defined by such qualities as candor, truth and virtue. Derzhavin’s personality is represented in his authorial myth as the embodiment of a Russian person’s national qualities.

The Creative Impulse: Innovation and Emulation in the Role of the Egyptian Artist during the New Kingdom—Unusual Details from Theban Funerary Art

The present research analyses the role of the Egyptian artist within the context of New Kingdom art, paying attention to the appearance of new details in Theban tomb chapels that reflect the originality of their creators. On the one hand, the visibility of the case studies investigated is explored, looking for a possible explanation as to their function within the tomb scenes (such as ‘visual hooks’) and offering a brief experimental approach. Tomb owners benefitted from the expertise and originality of the artists who helped to reaffirm their status and perpetuate their funerary cults. On the other hand, iconography can include examples of the innate creativity of artists, including ancient Egyptian ones. The presence of such innovative details reflects the undeniable creativity of artists, who sought stimulating scenes which were sometimes emulated by contemporaries and later workmates. Significantly, some of these innovative details reveal unusual poses and daily-life character, probably related to the individuality of the artists and their innovative spirit. In other words, the creative impulse is what leads artists to innovate. In this sense, creativity must be understood as the dynamic of the visual arts that determines constant evolution of styles.

SCHILLER’S MOTIFS IN THE IMAGE OF LENSKY IN A.S. PUSHKIN’S NOVEL EUGENE ONEGIN

When creating the image of Lensky, Pushkin combined two concepts of how Schiller was perceived in Russian culture of the 1820s: “sublime”, freedomloving, idealistic (as a figure of Sturm und Drang) and “pseudo-romantic”, elegiac, dating back to translations of Schiller’s elegies and ballads by Zhukovsky. At the same time, Pushkin himself in Eugene Onegin, obviously, does not completely separate them and does not oppose them, updating one or the other if necessary. The projection of both in the novel ranges from ironic reduction to sympathetic acceptance, which, along with their latent conflict with each other, creates a dialectical tension of Lensky’s image. It is Schiller’s motifs that give this image depth. In the draft versions, the exposition of Lensky’s image, the expressiveness and passion of his nature, rebellion and political engagement of the poet are much more strongly emphasized. But the author, while working on the text, “shifts” the image of Lensky towards a dreamy elegiac, while maintaining a recognizable Schiller appearance. The description of Lensky’s ideals moves entirely along the lines of Schiller’s philosophy and creativity. In this regard, the article for the first time examines possible reminiscences to the image of Lensky from Schiller’s poems “Die Hoffnung”, “Die Ideale”, “Die Freundschaft”, “Der Triumph der Liebe”, “Das Geheimnis der Reminiszenz. An Laura”, “Die Künstler”, “Das Glück”, “Das Ideal und das Leben”, “Der Flüchtling”. Having parodied the tradition of “dull” elegy on the example of Lensky’s dying poems, the author unexpectedly places two similar elegies as lyrical digressions. Despite the predominance of the Byron ideological and artistic context in the novel and Pushkin’s apparent irony in relation to the Schiller tradition, it represented for him a possible reference point for the development of Russian literature.

Working it out together: Lessons and insights into inclusive research in an arts context

AbstractBackgroundI'm Me is a creative research project co‐created between York St John University and Mind the Gap, investigating learning disabled and autistic artists’ understandings of identity, representation and voice.MethodsIn this paper, we use Walmsley and Johnson's criteria for inclusive research to reflect on the involvement of people with learning disabilities and autism in I'm Me.FindingsResearchers need to carefully reflect on who benefits from research. Long‐term relationships allow genuine allyship and for research design to emerge in an inclusive manner. Taking the time to develop access and clear structures for decision‐making can support people with learning disabilities’ participation and control over research. Part of access is sharing our findings in accessible ways, in this case, by using plain language and artistic outputs.ConclusionsWorking out how people with learning disabilities and autism should be involved in research has involved establishing structures, reflecting and responding to create as much involvement and enable as much decision‐making as possible.