Inspiration For Art Research Articles

Google Earth Augments Viewing the Spectacle of Ruin in Selected ‘In-Between Places’ of Old Industrial Johannesburg

South Africa is said to have the worst social inequality in the world, and examples of this inequality can be seen in the shack settlements, backyard shacks and hijacked properties in many parts of the city of Johannesburg. These unsafe and neglected ‘interstitial places’ are where the poor live in inadequate housing, squeezed between factory buildings, railway lines and motorways in the city. One of the challenges of capturing visual information about these settlements in these difficult settings is getting access to the areas where photographs can be taken. In Johannesburg, many areas are no longer safe for outsiders to visit. These unsafe, informal and often well-hidden areas can be considered ‘interstitial’ in relation to other areas where middle-income earners live in decent houses in pleasant suburbs with amenities. It is these ‘unsafe’ areas that the author wished to explore as a source of images and impressions for creative works.
 This study takes an autoethnographic approach to exploring three neglected suburbs of Johannesburg, South Africa (Cleveland, Denver and Jeppestown), which all date from soon after the first discovery of gold in 1886. Through this work, the author hoped to make sense of observed changes within the city and the proliferation of informal, survivalist settlements seemingly arising without town planning interventions. Many open areas and dilapidated buildings are now occupied by low-income earners, perhaps because city governance has been overwhelmed by the thousands of work-seeking migrants arriving in the city on an ongoing basis.
 To explore the many visual indicators of poverty in these selected areas of Johannesburg, the author used Google Earth remote sensing images and Google Earth Street View to augment site visits. Google Earth is a valuable research tool, as one can quickly explore marginal areas that are not safe for outsiders to visit. One can also view activities that are not visible from the street – for example, illegal motor repair operations occurring behind high walls. Ethical issuesabound in these acts of anonymous looking at the poor and destitute and finding the picturesque in neglected buildings, dismal living conditions and slums, as well as the privacy and surveillance issues relating to those being observed. This essay will dwell on some of the benefits of the Google Earth virtual globe software, as well as the ethical discomfort that can result when observing people, poverty and informal living places – whether using remote sensing methods and driving around these areas with a camera, or using the images and perceptions gained for personal use as a source of inspiration for art making and fiction writing.

Keeping the Faith

Abstract In many cultures, women are the “keepers of the faith,” despite the fact that masculine pronouns are often used to identify deity or deities in most of the world’s major religions. In addition, many foundational leaders of these faiths were male—Abraham, Moses, Jesus, Muhammed, and Siddhartha Gautama (the Buddha). This double issue of Religion and the Arts seeks to explore the ways in which contemporary artists who identify as women or are non-binary or third gender engage with spirituality, both in the context of different faith traditions and as unaffiliated spiritual seekers. The essays include: Scholarly explorations of contemporary artists’ engagement with religion and/or spirituality in the context of cultural roots; faith, religion and/or spirituality as a source of inspiration in art making for women artists, inclusive of trans and gender non-conforming people; relationships between religious traditions and gender fluidity as explored by contemporary artists; consideration of how women and gender non-conforming artists around the world are grappling with religiosity in their cultures and personal artistic practices; and the role of contemporary art made by women and/or gender-fluid artists in encouraging dialogue around religious belief.

Music Inspired by the Sea: A Musical Parallel between “The Sea” by C. Debussy and “A Sea symphony” by R. V. Williams

The sea has always represented a source of inspiration in art (especially in the visual arts), but also in music – which borrows many attributes, such as evanescence and fluency, specific to musical Impressionism. Music also took over the metaphor of the sea, especially through the Impressionist music of Claude Debussy (The Sea) and A Sea Symphony by R. V. Williams, composers who will be celebrated at 160 and 150 years, respectively, from their birth. The purpose of the work is to stylistically compare the compositional details of the marine theme in the two proposed repertoire elements, from the 20th century. The work is structured in such a way that it involves a brief analysis of each of them, ending with comparative elements.

Ecosystem Services Provided by Seaweeds

The ecosystem services can be divided using two major classification systems, the Millennium Ecosystem Assessment (MEA) and the Common International Classification of Ecosystem Services (CICES). In the MEA system, the ecosystem services are divided into four major service clusters: supporting, provisioning, regulating, and cultural. On the other hand, the CICES system regards the “MEA supporting services” as organism natural function (and not an ecosystem service). Thus, this function is the basis for all the three CICES ecosystem services (provisioning, regulating, and cultural) provided by one organism. These ecosystem services can be analyzed for the type of habitat, fauna or flora. Seaweeds, or marine macroalgae, are one of the key organisms in estuarine and seawater habitats ecosystems, which currently is of extreme importance due to the climate changes and the blue–green economy. Seaweeds and humankind have been interlinked from the beginning, mainly as a food source, fibers, biochemicals, natural medicine, ornamental resources, art inspiration, and esthetic values in several coastal communities. Moreover, currently they are being studied as green carbon, carbon sequestration, and as a possible source for the biomedical and pharmaceutical areas. This review is a concise review of all ecological services provided by seaweeds and their impact in the human life and maintenance of the ecosystem status quo. The future of seaweeds use is also approached, regarding the promotion of seaweed ecological services and its dangers in the future.

Nudity and Nakedness: The Gaze of Edna Pontellier

The description of Edna Pontellier’s unclothed body is a recurring metaphor in Kate Chopin’s The Awakening. The correlation between nudity and nakedness implies a different status of how a person surveys himself, and is surveyed by others. Moreover, the tradition of men as the surveyor and women as the surveyed shapes the social expectation of women always striving to please the male gaze. Chopin’s Creole society is a sphere where women are surveyed and disciplined. This essay aims to demonstrate how Edna achieved an extraordinary awakening of how women are appraised by men and how they perfect their manners accordingly, under the inspiration of art and the ocean. This awakening is both liberating and detrimental for Edna, for she found only the incompatibility between her quest for selfhood and society. This discordance deepens Edna Pontellier’s solitude and leads to her final suicide. However, the physical destruction is not an act of surrender because, through her nudity, we witness powerful feminist awakening and rebellion.

ART INSPIRATION SCIENCE

The exhibition ART INSPIRATION SCIENCE Thomas Schönauer—The Engineering Artist took place at Haus der Universität (House of the University) in Düsseldorf. Its main focus was on Schönauer’s collaborative work with scientists, engineers and companies, in which he aims to extract or utilise new materials for artistic practice. Schönauer collaborates with the Henkel corporation as well as with the Institut für Textiltechnik (Institute for Textile Technology) at the RWTH Aachen University.

The role of inspiration and vision in art and business: contributions and reflexions

TIt is seen today that interdisciplinary view of art is the most important need. This can only be reflected in education by understanding its philosophy. In this study, the emergence processes of art inspiration, its basic dynamics, philosophy and their reflection on artistic work and business world are discussed. The elaboration “The role of inspiration and vision in art and business“ shows, that art and business can be inspired by the same principles. On the one hand true mastery lies in the steadfastness of serving and following inspiration. This sight shows the idealistic view, humanity and frugality, leading to processes, that higher sources and values led to soul touching works. On the other hand, in the today more materialistic influenced world, education and studies looks for guidance, effectiveness and a kind of operating manual for the successful creative work. Being still in a phase of education, directed by materialistic influenced systems for more effectiveness, concurrence and “winner mentality“. I have the wish to discuss the chances of changings the topics, to find out wider fields of happiness in arts and business.

НАДЦІННІСТЬ ЗЛА ТА ЙОГО ОНТОЛОГІЧНІ ВИМІРИ У ФІЛОСОФІЇ Ж. БАТАЯ


 
 
 Aspects of evil are revealed as the aesthetic inspiration of art, mainly of literature, and of the natural necessity of the existence of evil as the basic plane of being. It is explored the idea of death as a manifestation of evil and the need for death to develop life. G. Bataille discloses the philosophy of death through a system of sacrifice of the best achievement in accordance with the religious beliefs of ancient peoples. The Christian model of rejecting the death of an innocent victim and the Protestant ethic of accumulating wealth are defined by the philosopher as an unnatural phenomenon and a threat to life. It is stated that man perceives death through the prism of exclusively evil and, unlike an animal, scrolls death through the process of knowing good and evil. Attention is paid to identifying evil as the primary need for good. The question of suffering, the creator of which the philosopher defines God, is explored. In the same context, the essence of God is revealed as well as the role of the Devil in becoming God as the absolute of good. Evidence has been shown to be a necessary value that promotes communion with God.
 
 

Cultural significance of Lepidoptera in sub-Saharan Africa

BackgroundThe taxon Lepidoptera is one of the most widespread and recognisable insect orders with 160,000 species worldwide and with more than 20,000 species in Africa. Lepidoptera have a complete metamorphosis and the adults (butterflies and moths) are quite different from the larvae (caterpillars). The purpose of the study was to make an overview of how butterflies/moths and caterpillars are utilised, perceived and experienced in daily life across sub-Saharan Africa.MethodEthno-entomological information on Lepidoptera in sub-Saharan Africa was collected by (1) interviews with more than 300 people from about 120 ethnic groups in 27 countries in the region; and (2) library studies in Africa, London, Paris and Leiden.ResultsOften the interviewees indicated that people from his or her family or ethnic group did not know that caterpillars turn into butterflies and moths (metamorphosis). When known, metamorphosis may be used as a symbol for transformation, such as in female puberty or in literature regarding societal change. Vernacular names of the butterfly/moth in the Muslim world relate to religion or religious leaders. The names of the caterpillars often refer to the host plant or to their characteristics or appearance. Close to 100 caterpillar species are consumed as food. Wild silkworm species, such as Borocera spp. in Madagascar and Anaphe species in the rest of Africa, provide expensive textiles. Bagworms (Psychidae) are sometimes used as medicine. Ancestors may be associated with certain dark nocturnal moths, but these are also considered to be responsible for armyworms plagues. The appearance of butterflies/moths can be associated with seasons or serve as predictor of events. There are many proverbs, songs and stories related to butterflies and moths. Lepidoptera are also an inspiration in art expressions. In dance, the movements of caterpillars are used as examples, while certain cocoons are used as rattles.ConclusionLepidoptera are found very appealing because of the striking appearance of the adults, their dramatic metamorphosis and the provision of silk and nutritious food. Besides, they are an inspiration in art and literature.

Image Brayut on The Creation of Ceramic Sculpture

Men Brayut is one of the interesting stories of Balinese people since ancient times until present that acts as a source of inspiration in art. This study aimed creating and describing the ceramic sculptures inspired by the Men Brayut story. This research uses qualitative descriptive approach in which the researcher becomes the main instrument. Data collection by observation and documentation. This statue was made using SP Gustami’s creation method namely exploration, improvisation and embodiment. The results show that the creation process of ceramic sculpture featuring Brayut image can be separated into two, they are the process of making the main character of Men Brayut and the process of making Brayut’s children as an ornamental media that can show the image of Brayut on the sculpture. The creation this sculpture was started from the bottom using the combined technique of slab, pinching, and coil. Based on its function, the creation of this statue is functioned as the ornamentation and the practice as well as the ornamentation. This work implemented the green, blue and brown glazes with the combustion temperature was 1200°C. Some of the created works were titled to Joy, Fatigue, Affection, and Affection 2.

Rise of the smartish machines

Michelangelo’s depiction of the creation of Adam on the ceiling of the Sistine Chapel pivots on the iconic image of two fingers nearly touching—the finger of the creator and that of the creature he made in his image. That touch marks a crucial turn in the Genesis story: the beginning of a uniquely intelligent species on earth, though one that overreaches badly in the field of intelligence not much further on. A seemingly inexhaustible inspiration for art and literature, that imminent touch, with its implication of trouble ahead, has become a metaphor for artificial intelligence (AI). A machine endowed with the cognitive capabilities of its creator has been a goal in computer development since World War II. Rudimentary versions of mechanized human intelligence are now able to process data and analyze images that would overwhelm whole laboratories of human brains, and there is a general perception that the intelligent machine

Microscopy as a form of art

Abstract Art and Science are usually considered fields of different perceptions and approaches with very little overlap, but when combined, sometimes something unusually beautiful and unexpected can arise. Currently, a major effort is being made to promote the interaction between artists and scientists as demonstrated by some of the most recent grant programmes by organizations such as the United Kingdom’s Engineering and Physical Sciences Research Council (EPSRC). Occasionally, artists are approaching science with slightly different insights than those expected, but to date, there is a gap that is rarely violated despite the extraordinary ideas that may arise from such collaborations. There can be no doubt that Nature is the greatest inspiration for art and beauty. In many ways, science attempts to reveal the rules and the beauty of nature. Microscopy, as a technique in scientific research, plays a key role in revealing the beauty of nature, a trend that has led some to regard it as a form of art. But can this claim be justified? For the uninitiated, microscopy could provide a high-resolution image of nature’s creations, revealing at the same time its inherent beauty. The cells – human or non-human – form images of the same beauty as those represented in paintings. Preparations observed under the microscope contain a wealth of information. The aim of the researcher is to correlate the cellular structure with the functioning of the organism and ultimately with the miracle of life. The aesthetic quality of the images has led many scientists to stand in their artistic nature. But can we say that microscopy, which is essentially a way of acquiring and analyzing scientific data, is a form of art? If art is the creation of works by people of extraordinary talent, then microscopy might be an art form and a technique that seeks the functional disclosure of complex admirers of cellular structures. However, unlike music or painting, microscopy is certainly not a form of art, with the traditional concept of creativity. The question therefore arises as to whether the aesthetic nature of the images revealed by a microscope can be considered as art. This is a question that is the starting point of this article.

The Ancient Technique of Weaving with the Contemporary Art

This study is a qualitative research method. The purposes are firstly to trial production of Pha Yok Dok which is one of the local handicrafts, found in the north-eastern part of Thailand. It is the guidelines for handling core issues of the creation and must start from studying motif of design, focus on techniques the golden fabric is located at weaving with gold threads, called Yok Thong. Secondly, to improve the pattern of contemporary fabric are the synthesis of Yok Dok texti le design in making fabric. It is a complex process which requires highly skilled weavers. In researcher’s point of view, for weaving of each fabric-depending on the design and used for similar was weaving 1500 shaft/Ta-kor. Thirdly to invent textile art inspiration from Yok Dok textile design to create new works of art. The results showed that the fabric weave of the operation weave structure on motifs of Yok Dok textile design. This is an outstanding special technique. The contemporary new fabric pattern can be operated by opening and closing of the warp yarn on a draw frame. The new pattern design and process of Yok Dok textile design by fabric weave selection. It is a supplementary weft technique that is the process a nd design which is the first method of fabric craft practice use for the manual textile art inspiration from Yok Dok textile design to those who is the weaver. Textile weaving process by adding a special fabric pattern these characteristics come from the roots and identity of steps and methods of natural fabric cultivation. It is completed by delicate skill of weaving alternatives for creating a product and to serve as a guideline for further research. This handicraft highlights the significance continuation and bridge the relationship between classic fabric contemporary. Art to humanity from the ancient world until the present day. In summary the researchers plan to design and c ontemporary Yok Dok, a synthesis between classical the golden fabric of the Royal cord of Rattanakosin period and the contemporary Thai litterateur work which telling design.

‘I'm singing in the rain, what a glorious feeling…’

We are blessed with many rainy days in the UK and with appropriate clothing these can be enjoyed. Use the rain as an inspiration for art, dance and song, and explore its properties with some exciting experiments.

More than just fish food: ecosystem services provided by freshwater insects

1. Freshwater ecosystems cover less than 1% of the planet's surface but support up to 10% of known species. Around 25% of freshwater invertebrate species are under threat of extinction. Such a decline in species richness is likely to lead to adverse effects on the delivery of services. However, the effect of species loss on ecosystem goods and services can only be assessed once the link between species diversity and ecosystem goods and services has been established and better understood.2. Using a flexible systematic literature review search protocol, we were able to identify a range of ecosystem goods and services provided by freshwater insects in the categories of provisioning, supporting, and cultural services.3. The ecosystem services and benefits provided by freshwater insects are diverse and unexpectedly wide‐ranging including decomposition and nutrient cycling, food for a wider range of species including humans, and the inspiration for art, music, and literature. Several of these have clear economic values but are not currently fully exploited.4. The identification of goods and services may bring greater appreciation and impetus to understanding the scale of their importance, economic value, and conservation. In the absence of freshwater insects, few other service providers could replicate the same level and degree of service.

A whole new ball game

Although we tend to associate balls with throwing, catching and kicking games, they can also be used as a tool for art activities – or as an inspiration for art and craft creations such as polystyrene lollipops.

Revealing marine cultural ecosystem services in the Black Sea

Humans and ecosystems are inextricably linked. The marine environment provides significant benefits to humans often described as stemming from ecosystem services (ES). Cultural ecosystem services (CESs) are included in the majority of ecosystem service frameworks in some form. However, there is a lack of characterisation or valuation of CESs often because they are hard to identify. They are therefore frequently left out of assessments leading to a risk that ES frameworks are not being used to their full potential. By analysing responses from the Turkish public to an open question, posed about the sea, it is possible to access the interface between humans and the marine ecosystem. A number of CES categories were identified; aesthetic information, recreation, inspiration for art and design, and cultural heritage. In addition, provisioning (seafood), air purification and climate modification were recognised. The four CES are characterised, including the hard to identify intangible elements, and the underpinning environmental components and linkages were explored. The analysis used revealed the intangible benefits, including a deeply emotional attachment to the marine environment. The understanding of the cultural linkages between the Turkish people and the Black Sea provides a mechansim for designing policy and ecosystem management measures, and for motivating individuals and communities to work towards protecting and enhancing ecosystems. The research also provides evidence to support the case that cultural experiences are frequently built upon the foundations of a healthy natural environment.

Cut, stick and sparkle

The second article in Hilary White's series on taking art inspiration from picture books looks at the glitter in Julia Donaldson's books with Lydia Monk, Claire Beaton's felt and stitches and Lauren Child's mixed-media collage.

Everything checked out

Everyday patterns found all around the setting and home are great inspiration for art and craft activities that also help children think about shape and space. This month, Hilary White looks at checks and florals.

20세기 전반 모더니즘시대 Haute Couture 디자이너 작품에 나타난 순수 미학적 협업(collaboration)의 의미 분석

The purpose of this study was to analyze on the aesthetic collaboration appeared on the modernism arts and Haute Couture designers in the 20th century as the necessity of analyzing on the pure meaning of collaboration which is a talking point associated with culture of the 21st century. The study was performed by means of documentary method. The results are as follows; First, it was analyzed that the collaboration in the pure meaning of the first half of the 20th century had partial common points which was stated as Art Inspiration in the arts collaboration out of the 21st century collaboration. Secondly, the Haute Couture designers(Paul Poiret, Gabriell Chanel, Madeleine Vionnet and Elsa Schiaparelli) have common point that they involved into the artworking through active exchange with many artists from diversified fields in the 20th century. Especially, the characteristics of the collaboration in the forms, materials and color of their works were appeared visually. When the collaboration in the first half of 20th century was regarded entirely as mental matter of manifestation of pure aesthetics, in can be said that the big difference was mostly the maximization of mutual interest between collaborator and collaboratee in the 21st century collaboration.