Artistic Representations Research Articles

Rhythms of Kinabalu 2022 “Coming Back Stronger”: A Review

This article reviews the Rhythms of Kinabalu 2022 from the dual perspective of management and performance. Ever since its commencement in 2011, Rhythms of Kinabalu has been a yearly large-scale event organised by the National Department for Culture and Arts under the Ministry of Tourism, Arts and Culture Malaysia along with other collaborative bodies. The aim of this festival is to showcase the diversity and uniqueness of the dances, arts, and music in Sabah for the purpose of their continued popularity, relevance, and sustainability. As such, the review examines the current nature of festival, paying attention to the various categories of performances and performers in Rhythms of Kinabalu 2022 as well as the favoured and less favoured performances and/or artists as indicated by viewer turnouts of the live shows. At the same time, the article seeks to understand the local audiences’ reception and/or reaction towards the event and its many shows to signal the current festivalgoers’ taste and preference of the performing arts. A main observation reveals the striking presence of the art of busking and an imbalance in the representation of modern and traditional art forms. Essentially, the representation of traditional arts was limited and those artists struggled to keep up with their more modern counterpart. Technology, namely, social media, has been identified to have played a major role in influencing this outcome and contributing to this scenario. Management wise, the lack of cooperation from business entities (i.e., premise operators and owners) in support of the local artists, performers, small and medium enterprises, and the event itself is a cause for concern as this has caused several setbacks which were detrimental to the festival’s operations. Hence, the art-based and managerial issues identified in this review may benefit the relevant stakeholders in its decision-making of the festival’s future cycles.

The Artistic Representation of Trauma in Arabic Dystopian Literature

The Artistic Representation of Trauma in Arabic Dystopian Literature

Modeling Time and Space by Artificial Intelligence in Olena Krasnoselska’s Novel SOLpik: Fiction or Future Reality?

The article studies the specifics of time and space in Olena Krasnoselska’s novel SOLpik through the light of artistic representation of the possibilities of their AI (artificial intelligence) modeling. The article proves that in terms of modern advancements in science and technology, the methods of modeling time and space by AI depicted in the novel (their 3D printing with the help of artificial intelligence) seem to be theoretically justified and predictable. The authors of the present paper pay special attention to the analysis of the writer’s philosophical reflections on the essence of time and space, as well as the consequences of active human interaction with artificial intelligence. It is noted that the image of the future presented by Olena Krasnoselska, where artificial intelligence can get out of control and begin modeling the space-time continuum, creating virtual reality, seems quite believable in the context of scientific and technological achievements of the 21st century. This story reflects the ideas of modern science and the attitude towards its attainments. The article concludes that all of the above-mentioned facts give grounds for identifying the piece by the Ukrainian writer as a ‘prophecy novel’. Also, it outlines the perspectives of studies related to the analysis of the chronotope of ‘science-fictional AI’ in view of the achievements of modern scientific and technological progress.

Arte como catalisadora da mudança social: Diálogo intercultural, empatia e construção de um futuro mais justo

This article explores the intrinsic relationship between art, culture, and identity, highlighting the role of art as a catalyst for social change. Art, as a form of human expression, transcends the mere reproduction of reality, acting as a mirror, a mold, and a transformer of culture. Through art, individuals and communities express their worldviews, construct and renegotiate their identities, and challenge norms and values. Representation in art is essential to ensure that the voices and stories of all social groups are heard and valued, combating invisibility and exclusion. Art also promotes social inclusion, intercultural dialogue, and empathy, contributing to the construction of a more just and equitable future. However, the valorization of diversity in art faces challenges such as prejudice, discrimination, and lack of access to culture. To overcome these obstacles, it is essential to articulate public policies, educational programs, and collective action aimed at democratizing access to art and valuing cultural diversity.

The Relationship between Social Media Use and Innovation in Visual Art Practices

Social media usage entails the interacting with online-based platforms to share the content's, connect with other people, and consuming the digital information. Visual art practitioners innovate by employing the new techniques, materials, and viewpoints to generate distinctive, contemporary artistic representations. The purpose of this investigation is to analyze the relationship among the social media use along with innovation in the visual art practices. It integrated the quantitative and qualitative methods. Initially, the sample data is gathered. The sample includes 200 visual artists from diverse fields and artistic backgrounds. Data is gathered using two fundamental techniques like survey and interviews. Based on their survey responses, 20 participants were chosen to perform Semi-structured interviews. Facebook, Instagram, and Twitter are the selected social media platforms. The research findings are quantitative outcomes like correlation analysis and regression analysis, qualitative outcomes such as key themes from interviews, the social media engagement influence on artistic practice aspects, and the social media platforms impact on types of artistic innovations. The ρ-value is less than 0.05. Instagram contributes greatly to artistic innovation by improving collaboration, audience engagement, and visibility, while social media has an overall impact on visual art practices.

Dress as the Agency of Power: Ozioma Onuzulike’s Ceramic Art

This study examines the ceramic works of a Nigerian artist, Ozioma Onuzulike, which vividly illustrate dress as an agency of power. His oeuvre features among other things the agbada, an extra-large clothing style prevalent in contemporary Nigeria, especially in elitist socio-political and cultural contexts. Over 25 years of Onuzulike’s ceramic art practice have consistently showcased modernist works that challenged conventional ceramic art and socio-political norms. His innovative use of clay and palm kernels to depict power dynamics in Nigeria has attracted some scholarly attention. This study employs compositional interpretation and contextual analysis to explore the visual, sociocultural, and political impact of Onuzulike’s hybrid ceramic art that depicts agbada. An iconological approach reveals the formal elements, historical, political, and social nuances embedded in the works. The concept of dress of power is used to unravel the multifaceted political significance of Onuzulike’s representations. Unpacking the visual vocabulary and metaphor of power in the works provides insights into the agbada as a status symbol in modern Nigeria. This artistic representation typifies a trend in contemporary African and diasporic art, where textile materials, forms, and ideas are central.

Down, and Under Pressure: The Decline of Local and Non-Anglo Best-Selling Recording Artists in Australia 2000–2023: Submitted to the International Journal of Music Business Research 14.06.24.

Abstract The global consolidation and platformitisation of recorded music have attracted attention to changes in local artist representation in national sales charts and, more broadly, to the diversity of nationalities within recorded music markets. Global platform distribution has been perceived to aid local music economies and the diversity of cultural production. This article quantitatively analyses the annual Australian top 100 single and album charts 2000–2023 to determine Australian artist representation, Indigenous artist representation and diversity of nationality over the period. The data reveals, contrary to propositions of glocalisation and internationalisation, that Australian and non-Anglo artist representation has declined significantly, while North American and British artists have increased their presence in the Australian charts. It also finds that Indigenous chart representation over the period is low, stable and in line with population ratios. The data raises issues for artists, companies, policy makers and consumers in the Australian music industries.

Charcot and hallucinations: A study in insight and blindness

ABSTRACT Jean-Martin Charcot (1825–1893) showed little interest in mental disorders, the domain of nineteenth-century alienists. But hallucinations are not confined to the field of psychiatry, and Charcot, who had once tested the hallucinogenic effects of hashish in his youth, went on to describe hallucinations in the course of various neurological conditions as just another semiological element. Most of his or his disciples’ writings on hallucinations can be found in his work on hysteria. Hallucinations and delusions were part of “grand hysteria” and occurred at the end of the attack (third or fourth phase). Hypnosis or chemical agents could also induce hallucinations. Charcot and his disciples did not go so far as to emphasize the importance of hallucinations when they evoked past trauma, especially sexual trauma. Charcot’s materialistic orientation led him and his disciples—especially D. M. Bourneville (1840–1909), G. Gilles de la Tourette (1857–1904), and the neurologist and artist P. Richer (1849–1833)—to seek hysteria in artistic representations of “possessed women” and in the visions of nuns and mystics. Finally, Charcot recognized the importance of hallucinations in neurological semiology, by means of precise and relevant observations scattered throughout his work. Preoccupied with linking hysteria to neurology, Charcot only scratched the surface of the possible significance of hallucinations in this context, paving the way for the work of his students Pierre Janet (1859–1947) and Sigmund Freud (1856–1939).

The Representation of Urban Work in China’s Modern Boneless Paintings

In 1979, China began to implement the policy of "reform and opening up", which has since then embarked on the path of rapid development and modernization. After "reform and opening up" drove economic development, the urbanization process also accelerated, and cultural transformation also drove innovation in the representation of Chinese visual arts. This study aims to investigate, study, and explain how urbanization is reflected in modern Chinese boneless paintings under the background of "reform and opening up". Using qualitative research as research strategy, through observation, interviews and documents as techniques of collecting data, this reseacrh tries to interpret the symbolism, meaning and value of the symbols of urbanization representation in modern Chinese boneless paintings. The research results prove that modern Chinese boneless paintings reflect people's living conditions and various social problems after the "reform and opening up". All these problems come from the social changes that have occurred in China during the process of urbanization, and are expressed through the unique painting language of modern Chinese boneless paintings. On the one hand, these painting languages reflect the progress and changes brought about by "reform and opening up" to modern Chinese painting; on the other hand, they also reflect the concern and deep meaning of modern Chinese boneless paintings for current social phenomena.

MOVE TOWARDS THE LOCAL AND PERSONAL IDIOM IN PAINTINGS OF POST INDEPENDENCE PERIOD IN INDIA

Present paper throws light on post colonial 2nd generation Indian painters whose desire to engage with actual and virtual realities of the society gained prominence during 1970’s. and 1980’s. Personal experiences and socio-political unrest provided the required stimulus for highly individual interpretations. The artwork now provoked the viewers to participate in it rather than meekly accept it as a mode of entertainment. Certain naturalistic principles and elements of representation were being challenged and figures on canvas were not solely based on observation but also based on conceptualisation. Different norms of anatomical reconfiguration with strong imagery showed a deliberate shift from academic representation, exploring the individual stylistic choices. Some of the artists used narrative devices to weave stories with descriptive backgrounds relating to specific time and place and certain life experiences whereas others opted for a non representational art, enhancing the formal qualities of line, form and colour. The need to release the repression of consciousness ,positions itself through the understanding of postmodernism.

Art Notions in the Age of (Mis)anthropic AI

In this paper, I take the cultural effects of generative artificial intelligence (generative AI) as a context for examining a broader perspective of AI’s impact on contemporary art notions. After the introductory overview of generative AI, I summarize the distinct but often confused aspects of art notions and review the principal lines in which AI influences them: the strategic normalization of AI through art, the representation of AI art in the artworld, academia, and AI research, and the mutual permeability of art and kitsch in the digital culture. I connect these notional factors with the conceptual and ideological substrate of the computer science and AI industry, which blends the machinic agency fetishism, the equalization of computers and humans, the sociotechnical blindness, and cyberlibertarianism. The overtones of alienation, sociopathy, and misanthropy in the disparate but somehow coalescing philosophical premises, technical ideas, and political views in this substrate remain underexposed in AI studies so, in the closing discussion, I outline their manifestations in generative AI and introduce several viewpoints for a further critique of AI’s cultural zeitgeist. They add a touch of skepticism to pondering how technological trends change our understanding of art and in which directions they stir its social, economic, and political roles.

Интерпретация образного строя картины «Сын человеческий» Р. Магритта в рекламном продукте 2008 г. концерна Volkswagen AG: компаративный подход к анализу рекламы как текста культуры

Through a comparative approach, the research aims to identify the ways in which the advertising artist Kirill Chudinskiy (the 2008 Volkswagen AG advertising campaign) interprets the imagery of René Magritte’s work “The Son of Man” and to discover the main means of representing the cultural meanings of the classical painting in the advertising product. The paper examines the features of Chudinskiy’s creative interpretation of the images of the classic painting masterpiece, as well as various means of artistic representation (allusion, symbol, allegory, depersonalization, antithesis, anthropomorphism), which help create the image of the advertising reality. The scientific novelty of the research is accounted for by the fact that the comparative approach to studying an advertising product (poster) allows for deciphering the content of the cultural dialogue between a contemporary artist and the legacy of the past; revealing the aesthetic value of a digital painting; and identifying affective techniques used in the process of creating a mass product and provoking the consumer to perceive the experience of classical art through the discovery of cultural text structures. In addition, the studied advertising product of 2008 by Volkswagen AG has not previously been the focus of researchers’ attention. As a result, it was found that, firstly, the interpretation of the image of the central character in Magritte’s work allows the advertising artist to create a hero of his time, expose his vices, while simultaneously engaging the viewer in an intertextual dialogue. Secondly, by offering his own compositional solutions in the poster, Chudinskiy, to some extent, provokes the viewer, ironically commenting on the subordination of modern people to the world of things, while simultaneously encouraging the viewer to acquire a thing, i.e., a product, through advertising. Thirdly, by transforming the images of the sky, the sea, and man, which are symbolic on the canvas of the Belgian surrealist, Chudinskiy, on the one hand, actualizes the reality of the advertising product, and on the other hand, inspires the recipients with the idea that they will become part of this reality the moment they acquire the product. Fourthly, the creator’s intellectual game with the recipient through the work of art encourages the consumer to decipher the cultural text, i.e., to engage in cognitive activity, relying on knowledge, associations, and memory.

Constructing Global Identity Through Creative Linguistic and Artistic Branding of African Countries’ Monikers

This qualitative study investigated into the complex dynamics of African nation monikers and their profound implications for national identity and international branding. The purpose of the research was to examine the interplay between linguistic inventiveness and artistic representation in 54 African nations, exploring how these components contributed to shaping global perceptions. Adopting a content analysis approach, the study systematically investigated linguistic nuances and artistic depictions associated with each nation's moniker. The population comprised the 54 diverse African nations, ensuring a purposive and representative sampling approach that considered linguistic, cultural, and geographical variations. Data was sourced from official documents, historical records, and public discourse surrounding each nation's moniker, with a focus on linguistic analysis from official statements, literature, and media representations. Artistic representations were examined through visual sources such as national emblems, flags, and associated symbols. The findings revealed a complex tapestry of linguistic features firmly anchored in cultural and historical contexts. Artistic depictions, including visual metaphors and symbols, contributed significantly to each nation's unique character. Notable examples included Nigeria's "The Giant of Africa" and South Africa's "The Rainbow Nation." Recommendations emphasized the strategic use of linguistic and artistic components to enhance international image, recognizing their critical role in shaping global perceptions of African nations. The study also acknowledged its limitations and proposed directions for future research, offering valuable insights into the nuanced dynamics of language and creative expression in constructing national identity on the global stage.

Queer Latinx Bodies and AIDS: Joey Terrill’s “Still Here” and “Once Upon A Time”

Through two interviews conducted two years apart, the author and artist Joey Terrill offer an intimate historical trajectory rooted in the singular voice of the artist through the discussion of artworks in the exhibitions “Joey Terrill: Still Here” and “Joey Terrill: Once Upon A Time: Paintings, 1981–2015”. The method of storytelling, interview, and art representation chronicles the artist’s emotional, intellectual, and embodied experience of illness, queerness, and resistance as an HIV-positive queer Chicano.

Dancing with BBoy: Transliteracies and critical imagination in superhero storytelling

AbstractIn this article, we describe a year‐long superhero storytelling project we facilitated with youth in a midwestern middle school. In this project, students read Miles Morales: The Ultimate Spiderman , designed superhero stories set in their community, and presented artistic representations of their stories to their families and peers. We present three episodes of mobile storytelling from this project, focusing on Aidan, one of eighteen youth participants. Using tools from theories of transliteracies and critical imagination, we illustrate how Aidan's embodied movement and play constituted critically literate acts. A transliteracies lens oriented toward critical imagination reveals how Aidan fluidly moved between fictional and real worlds to reimagine his experienced realities. These findings indicate a need to expand what counts as literate activity in schools.

Representations of Dissent against Communism in Romania: Anti-Communist Heroes, “Prison Saints,” and (Extra)Ordinary Citizens

This article discusses the uses and functions of visual representations in the articulation of a comprehensive memory of dissent against the Communist regime in Romania. Through qualitative research using the interdisciplinary study of the art and politics of memory, the study answers the question of how artistic renditions of the past differ from official discourse on dissent and how these representations are used politically. This article argues that these artistic representations enrich the understanding of dissent against the Romanian Communist regime and thus play a political role in consolidating a missing or limited memorialization of diverse forms of opposition to the Communist regime, thus disrupting the narrative of perfect control. Artistic discourses about the Communist past include at least three types of portraits of dissenters: (1) anti-Communist heroes who participated in the armed resistance of the 1940s and 1950s; (2) Communist prisoners who are recalled either as victims or “prison saints”; and (3) (extra)ordinary citizens who had nonconforming ideas either through their political activity or through their cultural choices. The latter are recalled as participating in workers’ strikes, as exercising a form of personal opposition through their refusal to comply with the regime’s natalist policies (dissenting women), or as taking part in broader cultural opposition forms, such as watching Western films on videocassettes. These artistic discourses vary from heroization to politicization, serve to build legitimacy for the democratic regime, explain how dissent had a role in the change of regime, and accentuate individuals’ agency.

VISUAL DIALOGUE BETWEEN SCULPTURE AND MEDICINE: THE INTERSECTION OF AESTHETICS AND SCIENCE

The intersection of medicine and art, often explored in numerous articles, delves into detailed depictions of diseases or concepts within the medical field. These depictions aim to speculate on disease effects and patterns of interaction, sometimes reaching scientific conclusions. However, artistic representations may pose scientific, conceptual, and methodological challenges, defining the complex boundary between medicine and art. This article broadens the perspective by examining the relationship between medicine and sculpture, focusing on how these fields can be classified in relation to each other. Rather than concentrating on individual works, the study categorizes the language, methods, and approaches used in works resulting from the intersection of art and medicine. The historical continuum is explored to understand the scope and connections between sculpture and medicine from the past to the present. Using search terms like "art," "sculpture," and "medicine" on platforms such as PubMed, Scopus, and Taylor & Francis Online, the research aims to convey how medicine is reflected in artistic practices. The article highlights the potential for collaboration and mutual enrichment between medicine and art, emphasizing the diverse use of art, particularly sculpture, in various contexts related to medical themes.

OGAHIYNING “RIYOZU-D-DAVLA” ASARIDA SHER MA’NOLI SOʻZLAR LINGVOPOETIKASI

This article provides an overview of the historical works of Ogahi, in particular the role of zoonyms in the creation of the artistic representation in “Riyozu-d-davla”, the expression and use of words with the meaning of lion in different languages in the work, and the poetic means created with the help of these words.

The Digital Atlas of Ancient Rare Diseases (DAARD) and its relevance for current research

BackgroundThe history of rare diseases is largely unknown. Research on this topic has focused on individual cases of prominent (historical) individuals and artistic (e.g., iconographic) representations. Medical collections include large numbers of specimens that exhibit signs of rare diseases, but most of them date to relatively recent periods. However, cases of rare diseases detected in mummies and skeletal remains derived from archaeological excavations have also been recorded. Nevertheless, this direct evidence from historical and archaeological contexts is mainly absent from academic discourse and generally not consulted in medical research on rare diseases.ResultsThis desideratum is addressed by the Digital Atlas of Ancient Rare Diseases (DAARD: https://daard.dainst.org), which is an open access/open data database and web-based mapping tool that collects evidence of different rare diseases found in skeletons and mummies globally and throughout all historic and prehistoric time periods. This easily searchable database allows queries by diagnosis, the preservation level of human remains, research methodology, place of curation and publications. In this manuscript, the design and functionality of the DAARD are illustrated using examples of achondroplasia and other types of stunted growth.ConclusionsAs an open, collaborative repository for collecting, mapping and querying well-structured medical data on individuals from ancient times, the DAARD opens new avenues of research. Over time, the number of rare diseases will increase through the addition of new cases from varied backgrounds such as museum collections and archaeological excavations. Depending on the research question, phenotypic or genetic information can be retrieved, as well as information on the general occurrence of a rare disease in selected space–time intervals. Furthermore, for individuals diagnosed with a rare disease, this approach can help them to build identity and reveal an aspect of their condition they might not have been aware of. Thus, the DAARD contributes to the understanding of rare diseases from a long-term perspective and adds to the latest medical research.

Conchas, Coloring Books, and Oxnard: Using Critical Race Counterstorytelling as a Framework to Create a Social Justice Coloring Book

I am from Oxnard, California, a predominantly Latinx city that is stereotyped as “too hood”, “too ghetto”, or “crime-infested” because of its low-income Brown people. Such negative narratives are so commonplace that they become believable, but we can challenge these oppressive narratives using critical race counterstorytelling. There are multiple ways to tell a story, and I pride myself in producing counterstories that are accessible and enjoyable to mi gente. So, to encourage stay-at-home practices and empower my own community during the COVID-19 pandemic, I created a social justice coloring book with the help of artistic friends and local Oxnard Latinx artists. In collaboration with Chingon Bakery, a local panaderia in Oxnard, we delivered over 500 FREE conchas and coloring books to the Oxnard community during the height of the COVID-19 pandemic. In this creative piece, I explain why counterstorytelling, as a framework, served as the foundation for this coloring book and I include several examples of the coloring pages. Additionally, I discuss how and why this coloring book has proven to be a tool for cultural empowerment in my community. Ultimately, I argue that artistic representations of counterstories are necessary in the struggle to challenge and dismantle systems of oppression.