Creation Of Artworks Research Articles

Application of synesthesia technology in new media art

This article discusses interactive art as the core of new media technology and synesthesia technology as its key feature. From the development source, it analyzes virtual reality works and the interactive characteristics of virtual reality formed by the intersection of media, art, and technology. By discussing related issues and from the perspective of interactive art application, this study proposes a method to improve the interactive experience of virtual reality works. When somatosensory natural interactions surpass keyboards to make the mouth-screen interaction unprecedentedly convenient, virtual reality makes people experience the world in a novel way bringing more possibilities and demanding more complicated requirements from art creation.<BR>Considering the development of interactive art over the years, we see interactive art works becoming increasingly homogeneous. Works lack uniqueness and emotion, and the audience’s demands have grown higher in physiology and mentality. Many creators lack a systematic understanding of the application, theoretical support for interactive art creation. Thus, when interactive art works are created, no clear judgment standards are seen, and there is no creative basis for some works, which leads to insufficient spiritual connotation and emotional resonance. What is seen are “flashy” results over-proclaiming the importance of high technology using sound, light, electricity, and exaggerated visual design. Therefore, there is a need to establish an emotional connection between the work and the audience by generating an emotional resonance. This article examines the “synesthesia” method, originally from the field of literature and psychology, in interactive art and finds that this method is actually used in the creation of interactive art works, but there is a lack of overall induction and systematic research on it.

Painting 1 Enoch: Biblical Interpretation, Theology, and Artistic Practice

This article inaugurates a new approach to biblical interpretation that involves close collaboration on a particular text between a biblical interpreter (Philip Esler) and a practicing artist (Angus Pryor), culminating in the production of works of art that generate a new understanding of the text in question. This approach reflects the recent scholarly interest in how artists who paint biblical scenes are active interpreters of biblical texts. Here the text selected is 1 Enoch, while the artworks in question are four 2 x 2 meter paintings, in oil on canvas, that depict pivotal scenes from that text. The collaboration draws on Ethiopian tradition reflecting the scriptural status and widespread influence of 1 Enoch in Ethiopia and the fact that the complete text of the work was only preserved there until its rediscovery in modern times. The interpretative process includes a focus on the original meaning of 1 Enoch, which then influences the creation of artworks laden with theological meaning. This approach is equally available to interpreters more interested in the contemporary (rather than the historical) meaning of other biblical and extra-biblical texts where the connection with national traditions, if present, may be quite different.

The Way I Paint-How Image Composition Emerges During the Creation of Abstract Artworks.

In recent years, there has been an increasing number of studies on objective image properties in visual artworks. Little is known, however, about how these image properties emerge while artists create their artworks. In order to study this matter, I produced five colored abstract artworks by myself and recorded state images at all stages of their creation. For each image, I then calculated low-level features from deep neural networks, which served as a model of responses properties in visual cortex. Two-dimensional plots of variances that were derived from these features showed that the drawings differ greatly at early stages of their creation, but then follow a narrow common path to terminate at or close to a position where traditional paintings cluster in the plots. Whether other artists use similar perceptive strategies while they create artworks remains to be studied.

Music, Science and Expert Listening: Interdisciplinarity and Solo Percussion Performance

Contemporary culture is embracing the creative and pedagogical potential of interdisciplinary collaboration as a means of promoting the relevance of the arts in society. Dame Evelyn Glennie, the world’s first solo percussionist, is finding new ways to connect with the listener. Her motto, “to teach the world to listen” is intended to resonate both within and beyond her professional domain. Sounds of Science (2016), a collaborative project exploring mankind’s timeline of scientific innovation through music, visuals, narrative and live performance, offers an indicative example of how interdisciplinarity can serve to create art works which function as vibrant forums for learning and engagement.

Applications of Calligraphy for the Creation of Artworks of na Interdisciplinary Nature

European Calligraphy has a millennial history that has been marked by various stages and vicissitudes that influence modern aesthetic tendencies in calligraphy and typography. In the forthcoming conference will be presented some interesting examples of fundamental calligraphy scripts and their interpretations, as well as the preparation and realization of illustrations in graphic prints (lithography). The final result are artistic books inspired by Dante Alighieri's Divine Comedy poem, and in particular the Hell part, as well as Gustav Dore's graphics. The books are enriched with specially made cases, that further fortify the creative pursuits of the authors and to arouse interest in the viewer. The interdisciplinary approach and complex tasks, including 3D graphics and virtual reality, present a new read on book, illustration and calligraphy. Keywords: Calligraphy, Interdisciplinary, Virtual Reality, 3D Graphics, Artistic Book, Lithography

Scalanie i percepcja wizualna. Kognitywne warunki odbioru dzieł sztuki (malarstwo, rzeźba, literatura)

This article aims to indicate universal cognitive diagrams for the process of interpreting and creating works of art. This text deals primarily with issues such as visual perception, neural representations and mental maps. Each of these concepts has a direct connection with the reception of works of art (painting, sculptural and literary). A certain scope of cognitive processes may constitute a cognitive universe with respect to works of visual art. In every field of art, a set of similar, if not identical patterns with regard to a specific realization is noticed. We can therefore speak of generalizations, mutations and emanations in culture. This article is only a research proposal, which requires a wider study.

Interpreting the Meaning of Loro Blonyo as A Basis for Creation of Intermedia Art Works

This research was designed as an experimental study of intermedia art creation based research by interpreting Loro Blonyo statue as a source of ideas for creating works. Loro Blonyo is a pair of wooden sculptures consisting of statues of woman and man, using the traditional Javanese style of basahan wedding dresses in a sitting position. Broadly, the meaning of Loro Blonyo statue for Javanese people is the unity of the couple as a reflection of Javanese’ mind that is harmony and oneness. The meaning of Loro Blonyo statue is then analyzed, elaborated, and reinterpreted as the basis for the creation of intermedia artworks of national identity. The results of the research were concluded and formed as the basis for the concept of intermedia artworks.To create visual language based on local culture, use the concept of art of reinterpretation. The concept of art reinterpretation is to find various alternatives of visual forms from the results of reinterpreting traditional visual arts. This means that the artwork created is the result of the artist's processing in reinterpreting the form or meaning and philosophy of the traditional visual arts and then transferring it into personal style artworks.This study used artistic research methods with the aim of creating space-based intermedia artworks that use visual, motion and sound elements, namely multi-media installation art with a visual form of local culture as a reinforcement of national identity. Keywords: intermedia art, interdiscipline, experimentation, Loro Blonyo, national identity. DOI : 10.7176/ADS/78-05 Publication date: November 30th 2019

Reflections on Bummock: The Lace Archive Symposium

“Reflections on Bummock” explored and expanded upon issues arising from the residency and exhibition, Bummock: The Lace Archive, held at Backlit Gallery, Nottingham, in 2018. The symposium reflected on the work of three artists, Andrew Bracey, Danica Maier, and Lucy Renton, and how they spent two-and-a-half years researching the Lace Archive held at Nottingham Trent University to catalyze the creation of new artworks. “Bummock,” which refers to the large part of an iceberg hidden beneath the surface of the sea, was adopted by the artists as a heuristic device to explore unseen or undervalued parts of archives to generate new readings, knowledge, and responses. Discussions included the artists’ development of a “controlled rummaging” methodology to select items, and how the exhibited outcomes illustrated “the flipping of the bummock” to reveal the underside of the archive. The resulting artworks were idiosyncratic, referencing historical lace objects through traces of supplementary documentation, as opposed to replicating the more seductive, esthetic characteristics of the textile. Invited speakers Amanda Briggs-Goode, Deborah Dean, Sian Vaughan, and Pennina Barnett contributed alternative insights to working with the materials (and politics) of archives, based on their experiences as, respectively, a custodian, curator, historian, and writer.

The Calligraphy Connections Project: Reviving Historical East Asian Texts

Historical texts have much to offer young researchers in Hong Kong and Mainland China. Yet, many students feel that such resources are of no value to them. Consequently, academic library usage rates for historical East Asian texts are low, and continue to drop. In Hong Kong and Mainland China, however, there still remains a widespread appreciation of Chinese calligraphy. Through leveraging this interest, academic libraries in East Asia can motivate university students to engage with historical texts and discover what they have to offer. This paper will recount and reflect upon the Calligraphy Connections Project, an initiative aimed at getting students to engage with historical East Asian texts through the creation of calligraphy artworks, which were subsequently exhibited to the public.

Levush Project

Abstract The Levush Project is a series of originally designed hand-fabricated textiles consisting only of syringes and pharmaceutical packaging for testosterone treatments Tobaron Waxman used since the early 2000s. The focus of the project is the research and development of these textiles, for creation of wearable artworks to be worn in choreographic and vocal performances.

No Looking Back

This is a critical review of changes in the two years since I wrote “The Invisibility of Islamic Art in Australia” for The Conversation in 2016. This includes the National Museum of Australia’s collaborative exhibition “So That You May Know Each Other” (2018), and the rise of the Eleven Collective through their exhibitions “We are all affected” (2017) in Sydney and “Waqt al-Tagheer – Time of Change” (2018) in Adelaide. It considers the representation of Australian contemporary artists in the documentary “You See Monsters” (2017) by Tony Jackson and Chemical Media, and the exhibition “Khalas! Enough!” (2018) at the UNSW.&#x0D; These initiatives demonstrate the momentum of generational change within contemporary Australian art and literary performance cultures. These creative practitioners have articulated their work through formidable public networks. They include well-established and emerging artists, driven to engage with political and social contexts that have defined their peers by antagonism or marginalisation.&#x0D; There has never been a ‘Golden Age’ for ‘Islamic’ arts in Australia. But as the Eleven Collective have argued, we are living in a time of change. This is an exceptional period for the creation and mobilisation of artworks that articulate what it means to be Muslim in Australia.

Geographical indications and cultural artworks in Nigeria: A cue from other jurisdictions

Developing countries benefit from the registration of geographical indications (GIs) in the agricultural and artisan sectors. The extension of GIs to the artisan sector serves as a best practice to Nigeria. Nigeria has many indigenous forms of cultural artworks that are influenced by the environment. Artworks from places like Benin and other regions in Nigeria are location specific. This paper explores generally the utilization of GIs to protect cultural artworks and the monetary and nonmonetary benefits of such works. The trend of registering GIs to protect culture, arts, and traditional knowledge is crucial to the economic growth of Nigeria otherwise it deprives those dependent on the creation of cultural artworks of a means to benefit from their hard work by a process known to them for decades.

Komiks jako sposób radzenia sobie z traumą uchodźczą

CARTOONS AS A WAY OF COPING WITH REFUGEE TRAUMAThis article aims at presenting the impact of artistic creativity on the mental health of refugees. Several levels of influence have been analysed: neurobiological, narrative, contextual, symbolic, activating, socio-political and ritual. The research question is whether and how the creation of artistic works can be a form of coping with refugee trauma. The data was obtained through the analysis of cartoons and transcribed interviews which have been conducted in 2018 in Norway with an Iranian refugee artist, hosted there within the structure of the ICORN network. The data seems to confirm that art can be an effective form of dealing with refugee trauma, but does not offer a complete solution to all the problems connected with traumatic experience.

Crafting Identities: Folding and stitching the self

This article tells the story of two fibre artists, Kathryn and Clare, who craft their intergenerational autoethnographic insights through the creation of textile artworks. It explores the collaborative journey of both artists, who came together to create an exhibition titled “Stitching Identities.” The artists have embraced the Deleuzian idea of the folding act in artmaking as a process of continuous and complex revealing of narratives and intuitive insights about self, a bringing of the inside to the outside and into material aesthetic form. It also embeds the writing of a colleague artist/educator, Michelle, who worked with them on the writing of the article and in addition draws on the critical, reflective and philosophical writing of education theorist Inna Semetsky (https://columbia.academia.edu/InnaSemetsky) who wrote the “Stitching Identities” exhibition catalogue essay. Their artmaking is their method, a way of crafting for meaning, a way to research and explore the self and the formation of their current identities.

Role of Creative Symposia in forming the Artist

The cooperative creative work in the art has always facilitated the creation of artistic works of high quality and required this process to be organized in a certain way, from both material and ideological perspective. There are plenty of creative symposia and plein-airs in Ukraine. Therefore, in our opinion, it is important to generally characterize this process and to reveal trends and prospects for creative projects in the modern artistic world. The plein-air is instructive from both theoretical and practical perspective. Exactly on the plein-airs an artist experiences a first shock from what he has seen in the nature; this sinks deep into the mind and nourishes both studies from nature and the whole process of making of a painting in the art studio. The plein-air gives the freshness of light perception to the artist; colors become clear, lightful and transparent. Each hue brings the artist curious brain to a big secret hidden in the nature. Its motifs are inexhaustible for learning its each fragment and manifestation. The life, country and its history give all the most beautiful things to the artist. In most cases impressions got on the plein-air are brought to the art studio and generalized paintings are made exactly there. And this is not a wave landscape portrait but the generalized image of Ukraine. Fundamental plein-airs and symposia among creative teams are organized with the support of the government or private organizations that feel involved in the process of creating a culture. Organizers set a main theme of the symposium, cover the accommodation and meal as well as tour expenses, finance a report exhibition of the creative team, catalog etc. Artistic projects are sponsored by large corporations or business structures as well as by diplomatic corps as art patrons which can crank them up a notch in the society not thanks to the economic basis but thanks to the art. We can see how the Ukrainian business intellectuals grow, intellectuals that understand the role of arts patronage well by following the example of their high-ranking foregoers from the beginning of the XX century. Round tables at symposia offer an opportunity to discuss prospects of the modern art and its tasks; such discussions are the anvil upon which the spark of truth is struck. In artistic groups the inner psychological space is organized more quickly: What is meant here is the inner world of each artist. In the environment with the certain spacing it is possible to simulate individual features of perception of reality, response and life style, i.e. life journey. The Ukrainian folk artist Vasyl Perevalsky emphasizes that all artists are different. Not everybody is able to work in the creative team. It all depends on psychological features of the artist. There are artists who, when making a painting, work more effectively in their art studios by going deep into their ideas, other world and logic of perception. In the opinion of the Ukrainian famous painter Vasyl Hurin, “a thematic painting must be unique and not repeat the past things. It must maturate and naturally go up”. Artistic symposia and plein-airs play a major role in forming the modern artistic idea. By participating directly in symposia the artist can understand regularities of individual life, discover his reserves and thus change his behavior by stimulating development and creating a project of life.

Laser coloration of metals in visual art and design

Visual art is an integral part of human life, which, like a mirror, reflects the lifestyle and capabilities of a generation. Moreover, each epoch contributes to the development of artistic expression techniques. In this article, we discuss three novel approaches to visual art and design from the point of view of modern photonics and laser technology. Laser methods of metal coloring are considered regarding their physical nature, and their ample opportunities for the creation of different artworks are demonstrated.

Absences within and surrounding light-to-sound translations

Within the material-immaterial dichotomy structuring the creation of media artworks and its inherent informational aesthetic, one may observe fractures or continuities. Considering media artworks through the notion of translation of materialities, the aim of this paper is to analyse some of the multiple roles that absence play within and surround this sort of aesthetic experimentation. The discussion is unfolded through the articulation of Vilem Flusser’s media theory – namely considering the zero-dimensionality of electronic and digital media and the concept of Mediumsprunge. These concepts are exemplified through historical and contemporary media devices and artworks technically based on light-to-sound translations. The discussed examples were partially selected from references and methodological tools used in a cross-disciplinary practice-based PhD research on photosensitivity in relation to media history and media art history conducted between 2014 and 2018. The methodology combines a historical and analytical approach, through new materialism, media archaeology, cultural techniques and second-order cybernetics. The significance of the discussion is exposing both the artistic freedom (or emancipation) and the arbitrariness (and responsibility) implied in bridging the gaps involved in media artworks.

Permissive Certificates: Collectors of Art as Collectors of Permissions

Artists have been dramatically reshaping the fine art certificate of authenticity since the 1960s. Where traditional certificates merely certified extant objects as authentic works of a named artist, newer instruments purported both to authorize the creation of unbuilt artworks and instruct buyers how to manifest and install them. Such “Permissive Certificates” have fascinated contemporary art historians ever since. Prior scholarship has shown how such documents, essentially blueprints for art creation, force us to confront fundamental ontological questions on the nature of art, the relationship between artist, collector and viewer, and the influence of money and acquisitiveness on art generation. But rarely, if ever, have they been approached as legal instruments. This Article accordingly fills that gap by construing Permissive Certificates through the complex but potent array of legal rights that they define. It argues that Permissive Certificates are not unitary instruments, but in fact an amalgamation of two distinct legal structures. They couple narrow retrospective warranties on the one hand with prospective copyright licenses and rights of source association on the other. Critically, as with all copyright and source-based permissions, they are conditioned on the owner/licensee complying with use guidelines. Material variations from such terms place the owner/licensee outside the scope of the license, or otherwise in breach, and at risk of claims of infringement by the artist. This approach to Permissive Certificates yields two important insights. First, they harbor an unappreciated power as a tool for artist control, particularly in jurisdictions such as the U.S. where moral rights remain relatively weak. Second, and more broadly, as art becomes increasingly more dematerialized, digitized, and duplicable, and ever more legalized in turn, Permissive Certificates will grow more and more into the locus of value for such works. Over the long run, museums and other collectors of fine art will become collectors, not of objects, but of permissions. The aura of the artist’s hand will be that of a signature and not of a brushstroke.

The Integrated Approach to Teaching Visual Art in After‐School Activity Classes

AbstractThe present article discusses the possibilities of interdisciplinary integration for teaching art to primary‐school students in after‐school activities. Integrated teaching, as one of the ways for putting into practice the socioconstructivist approach to learning and the theory of the guided construction of knowledge, is used as a basis for conceiving and implementing the two projects described in the empirical part of the article. The research questions, addressed here, aim at finding out how a project‐based approach and the knowledge gained in school and through the students’ individual experiences can be applied pedagogically in after‐school art activities. To achieve the aims of the study a two‐cycle action research was conducted where the integrated teaching was viewed as a developmental spiral, in which the insights, experiences and results gained from the first project fed into the planning and realisation of the second one. The outcomes of the two projects suggest that the integrated presentation of teaching material enhances the students’ learning abilities to make associative connections between the different subjects, to transfer their skills from one project into another, and to apply their knowledge from one subject area to another by processing various sources of visual or verbal information in their creation of artworks. The two projects have proven empirically the validity and educational relevance of the integrated approach to teaching art, and the usefulness of the ideas in the New Finnish Core Curriculum for the holistic development of the child in the complexity of today's world.

Cerita Klasik “Tantri Kamandaka” sebagai Sumber Ekonomi Kreatif

&#x0D; &#x0D; &#x0D; This study aims to analyze a classical literary Tantri Kamandaka text as creative economic resources. This research a empts to o er the idea of literary studies to the downstream of research results that can be utilized as much as possible for the welfare of the community. As with the text of Tantri Kamandaka, in addition to being a medium of the nation’s character values, it can also be empowered as creative economic resources or cultural industry. This research made use of content analysis model and medium transfer study. The method used was a method of creating art works by covering the exploratory stage, the exploring activity to uncover the sources of ideas was based on the reading and comprehending Tantri Kamandaka text; the design stage was visualizing the results of ideas exploration into sketches or alternative design to nal draft; and the stage of embodiment, which was to establish the nal design into a prototive model until the perfect work was created in accordance with the ideas. The results show that the text of Tantri Kamandaka potential as a source of creative economy, especially as a source of inspiration for the creation of creative economic product designs.&#x0D; &#x0D; &#x0D;