Creative Visions Research Articles

Toward Effective AI Support for Developers

The journey of integrating AI into the daily lives of software engineers is not without its challenges. Yet, it promises a transformative shift in how developers can translate their creative visions into tangible solutions. As we have seen, AI tools such as GitHub Copilot are already reshaping the code-writing experience, enabling developers to be more productive and to spend more time on creative and complex tasks. The skepticism around AI, from concerns about job security to its real-world efficacy, underscores the need for a balanced approach that prioritizes transparency, education, and ethical considerations. With these efforts, AI has the potential not only to alleviate the burdens of mundane tasks, but also to unlock new horizons of innovation and growth.

Movie Scene Simulation and Rendering Based on Virtual Reality Technology

Movie scene simulation and rendering with virtual reality (VR) technology have emerged as a game-changing method in the film industry, providing filmmakers with unparalleled creative opportunities and immersive storytelling experiences. This article investigates the use of VR technology in movie scene simulation and rendering, with a focus on sophisticated modelling techniques and rendering methods. Filmmakers can effectively control scene complexity and enhance rendering speed by utilizing VR-based modelling approaches such as multi-resolution decomposition and level of detail (LOD) rendering. These modelling techniques enable the development of highly complex and realistic virtual worlds, allowing filmmakers to bring their creative visions to life with unparalleled precision. In addition, VR-based rendering technologies, such as viewpoint-based geometric chunking rendering, improve frame rates and overall scene rendering quality, resulting in a seamless and immersive watching experience for audiences. Using VR technology, filmmakers can push the boundaries of traditional filmmaking, create fascinating cinematic experiences, and reimagine narrative in the digital age. This research explores the revolutionary impact of VR technology on movie scene simulation and rendering, emphasizing its potential to change the way films are created, seen, and appreciated by audiences throughout the world. Finally, they compare and assess the scene effect, LOD detail level, and interactive experience effect before and after simplification. scene design for virtual reality technologies generally scores 5-6 on each of the measures, whereas common technology's scenario design usually gets 3 to 4, showing whether the scenario design of virtual reality technology works properly.

Inhuman Kinship at Insensible Depths

The Afrofuturist mythology of Drexciya rewrites violent colonial histories of dispossession, imagining submarine utopias in which the descendants of enslaved Africans live outside colonial orders. With this submersion, the Drexciyan mythos offers creative visions of oceanic futures—the result of climate change. I therefore ask; what might be learned from Drexciyan relations to the Earth? I first probe Drexciyan–Earth relations through Rivers Solomon’s The Deep (2019), in which Drexciyans espouse a mode of stewardship over the Earth. Taking up a critical problematization of the possibility of relating to an inhuman Earth vastly greater than ourselves, I explore how The Deep navigates the incommensurability between inhuman nature and human/Drexciyan being. I argue that The Deep ’s Drexciyans are constituted across orders of in/non/human matter, an insight I carry over to Ellen Gallagher’s painting Bird in Hand (2006). There, I find a kinship relation with inhuman matter that accommodates the radical incommensurability of the Earth: I articulate this kinship as a transcorporeal mutuality of be(com)ing with the Earth. Whilst recognizing the asymmetry between their own existence and the Earth’s, Drexciyans insist on a difficult kinship with it. Such kinship relations critique Western practices of extractivism, and probe other praxes of inhabiting the Earth.

A Method of Enhancing Silk Digital Printing Color Prediction through Pix2Pix GAN-Based Approaches

Color prediction and color management for digital printed fabrics remain a challenging task. Accurate prediction of color appearances of digital printed fabrics would enable designers and manufacturers to better fulfill their design requirements and creative visions. We propose a color prediction method for silk digital printing utilizing a Pix2Pix Generative Adversarial Network (GAN) framework. This method aims to generate predicted images that possess the same stylistic and color characteristics as their actual fabrics after production. To develop and validate the method, color data and images are collected and processed from 5252 sets of paired original Pantone TPX color card and actual print sample fabrics. The results of this study demonstrate that the method can predict the colors of silk digital print samples while effectively reproducing the effects of inkjet printing in silk fabrics including silk crepe satin and silk twill. The method exhibits high prediction accuracy to an average CIEDE2000 value of 2.372 for silk crepe satin and 1.846 for silk twill. The findings of this research not only enhance the efficiency and accuracy of color management in fabric digital printing technology but also contribute to the exploration and development of high-fidelity color prediction techniques within the textile industry.

Between illusion and reality in the post-pandemic experience: Theatricalities of Esu and the Vagabond Minstrels on stage

This paper draws a critical analysis of the performance of Esu and the Vagabond Minstrels in post-pandemic experience. This is a play written by Femi Osofisan and directed by Adeyemi Oresanya, performed on the stage of the Pit-Theatre. It actually brings reflections of the undying past effects of corruption, oppression and social dysfunction from the military era to the new democratic dispensation in Nigeria to define compassion in order to revitalize humanity in post-pandemic. I argue that the fusion of illusionary reality of theatre in the nature of performance intertextuality is to evince the nature of man and how the myth of Esu implants the kernel of compassion in characters through dialogue—using songs and dances for aesthetic realization and sustainability. Besides, it examines indices of creative visions in the melting pot and departures between the playwright and the director in the nature of performance intertextuality. This researched paper is recommended for both students, teachers and practitioners of Performing/Theatre Arts to find importance of technological innovation in theatrical production as engendered in the COVID-19 experience.

Innovation in the creative industries: Linking the founder's creative and business orientation to innovation outcomes

Creative industries contain paradoxes because conflicting tensions arise between the market and the arts. Entrepreneurs need to find and maintain a balance between those two sides to create innovation. This study tests the interaction between business and creative orientations of a founder in their influence on innovation in the context of creative entrepreneurial firms and provides recommendations for how creative agents can leverage and manage their innovations based on their creative visions. Determinants on the individual level, such as the founder's creative or business orientations, have a lasting impact on the practices and process of their venture. To trace the imprinting influence of the founder's orientation on innovation, the empirical setting is a time‐lagged study of German firm owners in the cultural and creative industries surveyed 5 years apart. The results show a significant relationship between creative orientation and innovation, whereas business orientation does not significantly relate to innovation. However, creative and business orientations reveal a negative interaction effect. This study contributes empirical evidence to the paradox theory and the interaction between the opposite poles. Our findings provide valuable insights about the relevance of creative orientation and its visionary impact on the firms' innovation process. Furthermore, the results shed new light on the tension between art and the market, as different compositions of the two orientation poles seem to have a varying impact on the degree of innovation. Thus, the study reveals the complexity of creative entrepreneurship and provides managerial guidance for other knowledge‐based industries.

COMMUNICATION STRATEGIES REGARDING GENDER EQUALITY. A CASE STUDY IN CUBA

The objectives of this article are to describe the communication strategies developed on the subject of gender equality and to analyze the results of their implementation within the student community at the institutional level in Cuban higher education; specifically, the case of the Faculty of Design (Higher Institute of Design) of the University of Havana, Cuba, is analyzed. The methodology used for this research is the case study, and the techniques of document analysis and expert interview have been applied. The results display that students were sensitized to the issue of gender equality. Debate workshops were held on the topic, as well as activities inside and outside the institute in order to generate products of design to promote the topic of gender equality. The different manifestations of gender violence and how to confront them were made visible. The potential of visual communication as a strategy to promote gender equality was recognized, as a wide range of design results addressing the topic were achieved, which were socialized by the students with the rest of their colleagues through workshops created for this purpose. The designs generated became the coursework for several of the subjects included in the students curriculum. From this point on, the students participation became much more feasible, as their design and photography work for the project also contributed to their coursework. In addition, the optional subject Gender and Design was organized, where students were able to acquire the essential theoretical elements on the relationship between gender theory and industrial design, in order to develop the necessary skills to unlearn gender stereotypes that influence the creation of their products and incorporate new creative visions in the professional activity of design as an important element of communication.

Cinematic figurations of mountains

ABSTRACT Studies in mountain cinema often focus on the innovations and legacies of the classical German film of the 1920s and ’30s. This introduction to a special issue on cinematic mountains proposes to rethink the relationship between mountains and cinema along a different path. Drawing on the criticism of Jean Epstein, Béla Balázs, André Bazin, and Luc Moullet, we discuss three film-theoretical figurations of mountains. The first one concerns the politics of cinema; it invokes mountains as sites of creative visions at a remove from accustomed habits, standards, and conventions. The second addresses the environmental relation of cinema as a spatial and geographic artform. The third cinematic figuration of mountains regards filmic techniques and their virtue to reveal new facets of mountains and meaningful environmental connections.

From compass to radar: An innovative methodological strategy for researching cultural innovation

In response to the absence of a deep reflection on methodological innovation, this article sets out to approach the most appropriate strategy for investigating cultural innovation. In this regard, underlying this article there is a conceptual revision of two key terms: culture and innovation. The former is expanded towards more open and creative visions, and the latter is redefined from a linear and accumulative conceptualisation to an open and creative process. In order to build a new methodological approach based on this revision, we focus on presenting an onto-epistemological turn that implies a move from a research process in a linear progression, to an innovative cultural research process understood as an event that is processual, relational, and performative. By way of conclusion, the article proposes a creative and innovative research device that is open to the multiple configurations in which individuals and groups inhabit, build and experience culture in innovative ways.

Ukrainian painting of the first third of the 20th century in scientific discourse: National aspect

The article explores scientific works in which the concept of “national” was studied through the prism of the creative intentions of Ukrainian painters. Based on the analysis of literary sources, it is shown that the formation of the national context of Ukrainian painting in the first third of the 20th century is determined by a number of factors — historical and cultural features of the time, values and artist’s worldview. The actualization of scientific discourse of national art contributed to the in-depth study of the development and functioning of Ukrainian painting of the specified period, creative visions of artists. The research methodology is based on the principles of historicism, the cultural-historical method is applied to clarify the prerequisites, cause-and-effect relationships, reconstruction of the development of Ukrainian painting in a diachronic and synchronous dimension, hermeneutics — to substantiate the progress of Ukrainian painting and its significance for culture. Understanding the vision of Ukrainian painting of the first third of the 20th century in the publications of scientists is based on a review of exhibitions, analysis of works, study of biographies and stages of artists’ creativity. It is argued that in the creative intentions of artists who professed realism or formed the foundations of Ukrainian modernism and avant-garde, the concept of «national» determined the development strategy of Ukrainian painting

Reopening Wounds: Processing Korean Cultural Trauma in Park Chan-wook’s Oldboy and Sympathy for Lady Vengeance

In 1988, South Korean president Roh Tae-woo implemented democratic reforms in order to host the Olympic Games. These reforms opened the floodgates for Korean New Wave films. The reforms repealed censorship regulations and gave Korean filmmakers the autonomy to actualize their creative visions for the first time since they were colonized by Japan in 1910. The results of this newfound artistic freedom were films that grappled with the trauma of eighty years of colonialism, war, and authoritarian dictatorship through biting political commentary. This study explores Park Chan-wook’s representation of 한 (han) Korean cultural trauma in his New Wave films Oldboy and Sympathy for Lady Vengeance. Using literature on trauma, film, and Korean history combined with original film analysis, this study works to explain the criticisms embedded in Chan-wook’s films. The films critique revenge fantasies and both conscious and unconscious ignorance of traumatic events by demonstrating they are ineffective methods of processing한. His films show that the only way to heal 한 is to acknowledge and accept all wrongdoing, even one's own, and mourn the consequences of the atrocities. While 한 is specific to Koreans, cultural trauma is not. The ubiquity of cultural trauma makes the lessons in Chan- wook’s works of paramount importance and global relevance. While resolution of trauma is never final, Chan-wook’s films serve both as a guideline for and a performance of cultural healing in the face of moral atrocities.

Re-Contextualising Breakdance Aesthetics: Performance, Performativity, and Re-Enaction of Breakdancing in Uganda

ABSTRACT Since its creation in the South Bronx in the 1970s, breakdance has proliferated worldwide. In the last three decades, urban youth in Uganda have reconfigured breakdance aesthetics to reflect their creative visions and imagination and in response to the local material conditions in Kampala city. This article examines how the youth have reconfigured, localised, and re-interpreted breakdance aesthetics. I analyse the ways in which breakdancers have anchored their practices in their local social, cultural, political, and artistic conditions and experiences. Building on the stories of the youth, the analysis identifies media as a catalyst in shaping the breakdancers’ kinaesthetic re-imagination, redefinition, appropriation, and adaptation of breakdance. The discussion documents how the youth have constructed breakdance communities of practice, by engaging in performances that embody and manifest their range of experience, including their struggles, realities of deprivation and alienation, but also their sense of connection, their forms of political advocacy and their creativity. The discussion demonstrates how breakdance can be seen as the embodiment of an agenda that gives agency to the youth, and forms of agency that are situated in local realities.

Beowulf as Children's Literature ed. by Bruce Gilchrist and Britt Mize

Reviewed by: Beowulf as Children's Literature ed. by Bruce Gilchrist and Britt Mize Kim Zarins (bio) Beowulf as Children's Literature. Edited by Bruce Gilchrist and Britt Mize. University of Toronto Press, 2021. Over one hundred adaptations of the Old English poem Beowulf have been for children, yet this repository has not received a book-length treatment (3). Bruce Gilchrist and Britt Mize remedied the oversight with this edited volume, of interest to medievalists, children's literature scholars, Tolkien scholars, and education specialists. Britt Mize's introduction includes the volume's stakes: education's entanglement with literary production, the inclusion of canonical retellings in children's literature, and the racialized messages positioning Beowulf as a monument of "their own people's heritage," that is, white, Northern European heritage (7). Nationalism drives early adaptations of Beowulf. In "A Little Shared Homer for England and the North": The First Beowulf for Young Readers," Mark Bradshaw Busbee explores the first adaptation for children (Danish, not English), by N. F. S. Grundtvig (1783-1872). His 1820 Bjowulfs Drape landed on the curriculum and remained an influential staple in the Danish school system for generations. Scyld Scefing, the Danish people, and the "Goth" Beowulf are idealized in folksy language, while Grendel seems employed by the Catholic Church, preying on slumbering minds as slumbering Danes who require liberation from Beowulf/Luther; later, Beowulf dispatches Grendel's mother, "Jesabel," to Hell. I wanted context for these comparisons. Busbee notes Tolkien's debt to Grundtvig, though this chapter might elucidate why a Catholic like Tolkien despised allegory. The first English children's adaptation was written by a Victorian woman whom Renée Ward resurrects from obscurity in "E. L. Hervey's 'The Fight with the Ogre.'" Hervey's tale ends with Beowulf's triumph over the main antagonist, Grendel's mother—her head, not Grendel's, serves as his trophy. Beowulf is a monotheistic, masculine ideal, so much a man of action that there is no dialogue. Ward ends her chapter with a puzzle pertaining to Kate Greenaway's illustration of Grendel, which would seem to be a recycled illustration of the Norse giant Skyrmir—yet the publication in Hervey's volume predates the Norse publication. In "Tolkien, Beowulf, and Faërie: Adaptations for Readers Aged 'Six to Sixty'" Amber Dunai charts Tolkien's engagement with retelling Beowulf thrice, evoking different aspects of the poem: "The Hobbit thus marks a transitional point between the historically dominated Lay of Beowulf and the thoroughly folklorized Sellic Spell" (93). My question is whether this leaning toward Faërie is just another instance of adaptation of equal utility or aesthetic value to the historical one he employs first, or rather whether Tolkien's three adaptations suggest a trajectory moving toward what storytelling should do. In "Treatments of Beowulf as a Source in Mid-Twentieth-Century Children's Literature," Carl Edlund Anderson surveys this era's shift from "retelling" Beowulf in a straightforward [End Page 243] manner to "reusing" Beowulf more loosely, "to reflect on their own interests, ideas, and creative visions" (124). I wanted more information as to what these driving concepts are that made "reusing" essential. These terms imply aesthetic value judgements privileging "reusing," yet it seemed Anderson's examples of Ian Serraillier's blank verse or Rosemary Sutcliff's Dragonslayer speak to fidelity not as an erasure of creative power but a strict form employed to showcase it. Sutcliff "has reforged her influences into a finely wrought personal vision" exemplified in her elegiac conclusion: "And when the song was all sung, all the men went away, and left Beowulf's barrow alone with the sea wind and the wheeling gulls and the distant ships that passed on the Sail-Road" (118). Meanwhile, Bruce Gilchrist laments retellings move so far from the original that female representation in illustrations is lost, even today. In "Visualizing Femininity in Children's and Illustrated Versions of Beowulf," Gilchrist discusses the importance of Beowulf's women and how they are illustrated, or not, over time. As a teacher, I've found that Wealtheow's rhetoric is a hard sell among my monster-oriented students; Gilchrist reminds me to do her justice. Even as my students...

Evaluating the Role of Universities as Knowledge Hubs: Jordan University of Science and Technology as a Case Study

لا يختلف اثنان على الدور الرئيس للجامعات في التنمية الاقتصادية والاجتماعية والعمرانية. وهذا ما حدا بكثير من الباحثين لتركيز اهتمامهم على الدور الذي يمكن للجامعة أن تؤديه باعتبارها محوراً معرفياً. وتسعى هذه الدراسة إلى تقييم الدور الذي يمكن للجامعة الأردنية للعلوم والتكنولوجيا أن تقوم به كمركز معرفي له إسهاماته في الدفع بعجلة التنمية في مجالات الاقتصاد والعمران. تعتمد هذه الدراسة على المنهج الوصفي التحليلي ومنظومة تقييم التنمية العمرانية القائمة على المعرفة. تم إجراء مسح لاستطلاع آراء عينة من أعضاء هيئة التدريس والطلاب والباحثين وأصحاب المصلحة، بغرض جمع البيانات الضرورية لمؤشرات الأداء. وتم قياس أداء الجامعة الأردنية كمركز قائم على المعرفة ينمي الرؤى الإبداعية وحالات الابتكار. وتشير النتائج إلى وجود الكثير من التحديات التي تقف عائقاً أمام الجامعة الأردنية في أدائها لهذا الدور المعرفي كحاضنة للشركات الناشئة وتحفيز البحث العلمي مع ضمان تنوع ضمن أعضاء الهيئة التدريسية. وعليه، خلصت الدراسة إلى أن الجامعة الأردنية للعلوم والتكنولوجيا غير مؤهلة في الوقت الراهن للقيام بدورها كمحور معرفي بكفاءة وذلك لعدة عوامل ذكرها من لهم علاقة بالموضوع. ولعل عدم وضوح فكرة المحور المعرفي من أساسه لدى فئة الطلاب أحد هذه العوامل. وبناء على ذلك، توصي الدراسة بضرورة إحداث تحول في دور الجامعة من مجرد مركز تعليمي وبحثي إلى نواة للتنمية الاقتصادية واجتماعية. وهناك أيضاً حاجة للقيام بمزيد من البحوث في هذا الموضوع وسبل جعل الجامعات محاور معرفية.

Otwartość zamkniętych przestrzeni w malarstwie Józefa Czapskiego

The article refers to the problematics of tension between closure andopenness in Józef Czapski’s paintings. The paintings seem limited, closed in two-dimensional canvas, paper, cardboard... This is, however, an apparentclosure. An analysis of the creative attitude of the painter, theoretician ofpainting and writer Józef Czapski was used to illustrate what transgressing material limitations – “opening up closed spaces” – involves. From theartist’s perspective, this “opening” means being sensitive to nature asa source of authentic creative visions and the ability to search for meta-physical justifications for one’s own work. Czapski’s creative attitude wasconfronted here with the views of Simone Weil, a thinker important for Czapski, and also with the concepts of the painter and writer Henryk Waniek and the critic Tomasz Burek. The “opening up” of the pictorial spaces also takes place from the perspective of the viewer/spectator, who investigates the individual works, as well as examines the relationships between certain images.

Creative Visions in New York City's Contemporary Art Scene

Creative Visions in New York City's Contemporary Art Scene

Social issue in Tunisian cinema: A study in dimensions and significances: الموضوع الاجتماعيّ في السّينما التّونسيّة: قراءة في الأبعاد والدّلالات

The correlation of cinema with reality stood for the crucial rule in launching this type of arts. The economic and political transformations that the world has gone through and which emitted the social reality of mankind have reinforced the relationship of cinema with reality in terms of maturity meaningfulness and worth. The social displays that arose from this reality were presented within film subjects grounded on artistic managements with intellectual and aesthetic dimensions, and according to creative visions that seek to raise the viewer's taste and awareness, thus enhancing their role in the production of knowledge and therefore, the cultural scene is endowed and developed. Tunisian cinema has not moved away from this lane, as all the social themes lead the tendencies of this cinema. Sometimes the cinematic approach gets deeper and hence forms a kind of creative anomaly, which would falsify the conceptions on which the term local cinema is built. Tunisian social cinema has drawn for itself a sequence that will allow it to be comprehensive in its cinematic presentation and boost the artistic approaches that ventured on establishing a national cinema with global echo: a cinema whose schemes are stimulated by the apprehensions of its citizens and their real life issues. Film; themes in Tunisian cinema was directed towards embracing the problems of the local street. The fluctuations that the country has perceived during its contemporary history have been the emphasis of the Tunisian filmmakers. Each platform of this history has accumulated jargon that is prerequisite to maintain the procedure of this artistic expression, and to ensure its being within the Tunisian cultural scene. Despite some shortcomings and deficiencies in the cinematic approach, the employment of the dialectical relationship between the individual and society within the works of Tunisian cinema was demonstrated in its preeminent forms. Consequently, the artistic depth which was for a long time sought is now achieved.

“Our International Journal”: UN Publications and Soviet Internationalism after Stalin

This article explores the role of the United Nations (UN) in the post‐Stalin Soviet internationalist imagination. It analyzes letters that Soviet readers wrote to the editorship of The UNESCO Courier, a monthly magazine translated into the world's major languages and released to a global readership by the United Nations Educational, Scientific, and Cultural Organization (UNESCO). I illustrate how a small but devoted group of Soviet readers received the magazine's message, and how this message commingled for these readers with Soviet internationalist values and practices. The Courier not only featured international news on education, science, and culture, but also acted as a public‐relations arm of UNESCO, promoting ideas of world governance, world civic duty, and international community at the heart of the UN project. The magazine's “Letters‐to‐the‐Editor” section became a platform where Soviet readers articulated their own visions for internationalist solidarity and action inspired by the ideas promoted in the magazine. Hatched by a unique group of Soviet “one‐worlders” whose embrace of the UN and Soviet loyalty coexisted, these remarkably creative visions reveal the existence in the USSR of grassroots support for the UN's brand of world governance and the world body's function as a vehicle for Soviet internationalist expression.

VAIKYSTĖS MOTYVŲ RAIŠKA ŽYMIŲ LIETUVIŲ REŽISIERIŲ KŪRYBOJE

The paper discusses the expression of childhood images in the creative works of three outstanding Lithuanian directors with different creative visions. Its aim is to explore and characterise some of the traits of childhood expression in the productions of Rimas Tuminas, Oskaras Koršunovas, and Eimuntas Nekrošius, as well as to discuss potential influences on the formation of their world outlooks and creative styles. The paper presents the key motiffs of childhood that made an impact on the development of the directorial concept and stylistic expression in one or another production. The author seeks to disclose the opportunities of artistic transformation of the events, impressions, or traumatic situations experienced in the childhood in the creative work of directors of different generations.

A discourse between and about two artists: Alberto Giacometti and Francis Bacon

The major problem of this argument is the principal meaning of the notion of discourse with reference to the life, work (which is very important in this case) and mutual relations between two outstanding artists of the 20th century: Alberto Giacometti and Francis Bacon. Discourse on these artists was taken up by the art critics, curators and collectors who organized an exhibition confronting their oeuvre in 2018, and, as I try to demonstrate in this text, by the artists themselves.1 A similar artistic attitude, lifestyle, bond of friendship, rivalry and creative visions formed the relationship between Giacometti and Bacon. They were artists who had a fundamental influence on the shape of contemporary art. The problem of discourse links their work, art and fascination with photography shared by both of them. A special place is given to their adoration of the art of old European masters, similar fates and tastes, the creative research community that existed between them and discourse revolving around their lives. The joint presentation of the works of the two artists, Bacon and Giacometti, within one exhibition, allowed us to see their artistic achievements and fates from the perspective of understanding the meaning of the notion of discourse. An exhibition of their works took place in 2018 at the Beyeler/Basel Foundation in collaboration with the Giacometti Foundation in Paris. The show became a substantive visual indication of a particular discourse between and about the lives and works of Giacometti and Bacon.