Visual Art Forms Research Articles

Naked mole rat (HETEROCEPHALUS GLABER)

Abstract Enriching BioScience's role as a Forum for Integrating the Life Sciences, Arts in Science provides an occasional venue for poems, visual art, and other forms of artistic expression that explore and enliven our understanding of life. Through the contributions in this section, we hope to share with our readers the passion for nature that science inspires. This contribution is from Ian Wicks, Head of the Inflammation Division at the Walter and Eliza Hall Institute of Medical Research and Professor/Director of the Rheumatology Unit at the Royal Melbourne Hospital and University of Melbourne.

قراءة مخدرة لأسد جوديث طومسون في الشارع

The paper aims to trace some features of Psychedelic art, as a form of visual art in Judith Thompson’s play Lion in the Street (1990). These characteristics are explored against the backdrop of C. G. Jung’s theory of Individuation.Psychedelic art corresponds to the analysis of the play as it explores the thoughts about personalized perceptions and tries to reflect them. In other words, it is a way to externalize the internal feelings stored in the unconscious.The core of Jungian theory is “to experience the unconscious with its vital imagery, affective power and strong spiritual quality” (Martin, p. 257). The purpose of Jung’s Individuation process is to increase the individual’s consciousness to heal the splits between the conscious and the unconscious, bringing them to wholeness to overcome the trauma of the individual’s psyche. The three stages of Individuation: Personal Unconscious, Shadow (Anima/Animus), and Self, are employed to analyze the characters process of moving from the unconscious to the conscious to reach a new realm of consciousness that boosts wholeness and freedom.Judith Thompson (1954- ) is a renow

The Art of Tattoos

Abstract In this paper I make the case that at least some tattoos are artworks. I go on to propose a definition of tattoo art that distinguishes it from other uses of tattooing, and from other forms of visual art. I argue that tattoo art is an art form that creates artworks in living skin, and that the living body is an essential component of and contributor to the artwork. This gives rise to several other distinctive features of tattoo art, in particular that it reconfigures in interesting ways the relationships between artist, artworks, and viewers. Like street art, tattoo art by its nature resists inclusion in and valuation through art institutions such as galleries and museums.

A new approach to creating and deploying audio description for live theater

Audio description is an accessibility service used by blind or visually impaired individuals. Often accompanying movies, television shows, and other visual art forms, the service provides spoken descriptions of visual content, allowing people with vision loss the ability to access information that sighted people obtain visually. At live theatrical events, audio description provides spoken descriptions of scenes, characters, props, and other visual elements that those with vision loss may otherwise find inaccessible. This paper explores a novel approach to automate the creation and deployment of audio description for repeatable live theatrical events, both musical and non-musical. Using readily available tools and established sound-processing techniques, we describe a framework to automate several aspects of audio description for theater. The method uses a reference audio recording and an online time warping algorithm to align audio description with live performances, including a process for handling unexpected interruptions. We also show how a reference audio recording and descriptive tracks can be generated automatically from a show’s script and used to facilitate the deployment of audio description without sufficient resources for multiple performances or a live audio describer. Finally, a software implementation that is integrated into an existing theatrical workflow is also described. This system is used in three evaluation experiments that show the method successfully aligns multiple recordings of works of musical theater and non-musical plays in order to automatically trigger pre-recorded, descriptive audio in real time.

KOMIK IKLAN KOMIK

Comics are a form of visual art that uses still images and is arranged in such a way in several panels that make up the fabric of the story. While Cergam is a picture that has served as an illustration in a series of stories. The types of comics that are rarely included in large groups of comics, namely Advertising Comics. Like Indie Comics, it's quite surprising why comic designers don't think about it. For certain types of products that are not too serious in advertising information, comics turn out to be a potential medium. Especially for the target audience of young people who prefer visual and entertaining images such as comics. Maybe because it is considered advertising was born from business needs. Not a pure work of art. Therefore "comic advertisements" are included in the category of public service media. Some famous comic artists are often "used" by producers to draw advertisements. The audience immediately recognized the painter by the way he told stories, the character's figures and the style of his strokes.

Going global: Filmic appropriation of Jane Austen in India

ABSTRACT The dual edged implications of the introduction of English literary studies notwithstanding – the presentation of a fresh cultural perspective and the complete cultural takeover of colony – the pride and fascination of the British with the works of Jane Austen has had a deep impact on cultural production in India and its diaspora. Down the years, keeping pace with changing times and backed by technological developments, the Jane Austen-facilitated coming together of the two nations and two cultures, has seen several multilingual, multicultural screen adaptations of the Austen novels for both television and the big screen: Sense and Sensibility by Tamil cinema as Kandukondain Kandukondain; Pride and Prejudice as Trishna, a serialized Hindi adaptation for Indian national television, and later, for the big screen by a British Indian in English and Hindi as the internationally acclaimed Bride and Prejudice/Balle Balle Amritsar to L.A. and more recently, Emma by mainstream Bollywood in Hindi as Aisha. The essay broaches an analysis of the nuancing that takes place in the interstices between the word and the visual art forms and of the complexities arising from this interface. The complex agenda of the adaptive engagement underlying this vibrant colloquy between two cultures, between two mediums is interesting enough, but the added dynamic of a hybrid cosmopolitanism that is sometimes gratifying and sometimes problematic, makes the study even more challenging.

Los “pintorescos” retratos de los Rana en Nepal. El lenguaje transnacional de la élite en el siglo XX

This article consists of a historical-critical analysis about the early development of contemporary Nepalese art at the beginning of the 20th century and throughout the autarchy of the maharajas Rana of Nepal. As initial hypothesis, it is established that contemporary Nepalese art emerges as a result of the round-trip myth, or “orientalism” versus “westernism,” which converge in the origin of a new form of visual art used as a means of international communication. It is analyzed how through contemporary painting and photography techniques, inherited from Western art, Nepalese elite used visual art as a tool to create their own “Eastern myth”. Especially, the idea of the “picturesque Himalaya” is relevant for this purpose. By hybridizing these new techniques with the idea of traditional art, it is concluded that it was thanks to these magnificent “self-divine” portraits, through the contemporary artist’s creative skill, how the Ranas stated their exotic power in the Himalayan nation with the ultimate aim of protecting the country’s independence.

Underbelly: Making online hate visible

Visual art forms are effective in making previously unseen issues and experiences visible. Here I present an installation called Underbelly and reflect on the phenomena it makes visible, namely hate mail and online misogyny. I argue that these silencing tactics should be taken seriously as questions of everyday security because they can prevent academics from doing our job, particularly as scholar-publicists.

The case for the primacy ofvisualcywithin a neoliberal Artschool curriculum

Whilst the faculties of literacy and numeracy are rightly recognised as worthy of pedagogical nurturing, this article champions a more venerable articulacy – visualcy – crucial to a healthy culture, arguing that the one domain of human inquiry which distinguishes the visual arts from other disciplines is surely that surrounding the faculty of vision. The ascendency within the contemporary artworld of a relational aesthetics is traced through a brief history of the relationships between visual artforms and their socio-political contexts. It is suggested that the shift of emphasis away from the perceptually intriguing is in part a consequence – perhaps unintended – of the neoliberal values permeating the UK Higher Education sector in the last decade. The article ends with a proposal for a visual arts pedagogy based on five key principles of visualcy explored through the medium of drawing, illustrated with work by the author and students.

Painting epilepsy – The essence of disease by participants of the Latin American Summer School on Epilepsy (LASSE XIII)

PurposeThe purpose of this study was to present and analyze the way epilepsy researchers and specialists present epilepsy through visual art forms. MethodsStudents and epilepsy specialists, including clinicians and scientists, participating in the Latin American Summer School on Epilepsy (LASSE XIII) 2019 were asked to voluntarily portray epilepsy artistically by painting or drawing what they perceive that represents the feeling or challenges of persons with epilepsy. Resulting artwork was categorized according to several themes. The latter was analyzed in the clinical and social context of the disease. ResultsTwenty-six paintings available for analysis have been reviewed. The three main interpretations of epilepsy were outlined as follows: epilepsy as an identity schism, epilepsy as a loss of control, and epilepsy as a complex condition. Five artworks best suited the first category as they presented people with faces split into healthy and diseased sides, representing the emotional and social burden of seizures. Three drawings defined epilepsy as a loss of control, visualizing that all the phases of seizure activity (ictal, postictal, and interictal) are able to imprison the patient by disrupting mental processes. The last theme included four artworks that defined epilepsy as being a multicomponent enigma: the intertwining of unresolved pathophysiologic processes and psychosocial burden accompanying the disease was emphasized. In addition, the challenges to care for the patients in order to improve not only seizures but also their quality of life were noticed as an idea complementing the visual definition of epilepsy. ConclusionParticipants of LASSE XIII demonstrated an ability to empathize with their patients in retrospect by portraying the inner feelings of division and imprisonment of those having seizures. Epilepsy specialists visualize the disease as a composite phenomenon both in terms of its neural origin and of multidisciplinary requirements to implement its care.

Physical poetry: using Japanese Butо̄ in an EFL poetry performance project

ABSTRACTThis paper presents the results of an interdisciplinary project in which English poetry and performance studies were integrated into a poetry performance project for EFL students in a language education programme at a Japanese university. The project used the theories and methods of Butо̄, a contemporary Japanese form of dance and visual art, to guide students through the process of interpretation, journaling, rehearsal, and performance. In Notational Butо̄ practice, performers begin with a piece of literary or visual art, observe the images that stand out most to the performer, make notes about those images’ qualities in a journal, and then reflect on the movement. Our students followed a similar process, accompanied with vocal work, as they memorised excerpts from English poetry. We found that the project helped students create personal connections with the literature and more fully integrate foreign culture experiences into their identity as Japanese speakers of English.

Akwantukese Festival of the New Juaben People: The Artforms and Their Aesthetics

Aesthetics play a vital role in the celebration of Akwantukese festival. In the course of the festival celebration, several visual art forms are seen and these art forms give aesthetic value to observers. The aesthetic value associated to the visual art forms in the festival can aid people acquire knowledge and satisfaction. Yet, very few people actively participate in the celebration and do a critical observation of these visual art forms. The study is therefore aimed at focusing the aesthetic values of the visual art forms in the Akwantukese festival celebration. The objective(s) of the study are: (i)to identify the visual art forms embedded in the festival celebration. (ii)to describe the visual art forms and bring out their aesthetic values. Phenomenology and descriptive methods under qualitative research approach was employed in this study. The purposive sampling technique was used to select 30 respondents for the research and the main research instruments used for data collection were interviews and observations. The results indicate that there are a lot of visual art forms seen in Akwantukese festival celebration that have aesthetic values and can be appreciated by all and sundry. The research concludes that some of the art forms used during the festival celebration have philosophical and symbolical meanings that express emotions such as happiness, dreadfulness, sadness and others. It is therefore recommended that the chiefs and the people of New Juaben Traditional area should try as much as possible to fully participate in the festival celebration in order to see the various visual art forms and appreciate their aesthetic values. Again the festival should be made attractive to the international communities in order to promote tourism. Keywords: Aesthetic values, art forms, performing art, Akwantukese festival, visual art, celebration DOI: 10.7176/ADS/80-04 Publication date: January 31st 2020

Blood Evocations: Subversion, Resistance, and Afterimage in Ana Luísa Amaral's Ágora

Ana Luísa Amaral's Ágora (2019) is a forceful intervention in a perverted view of reality that offers us alternatives with which to overthrow such illusions. Its thirty-three poems all engage dialectically with a famous painting or other visual art form from the western canon and (in most cases) with the biblical text behind them. Beyond a critique of our present times, Ágora offers possibilities for re-envisioning tradition and resisting certain conditions of oppression. Subversion is what enables resistance and in Ágora it takes many forms, from a defiance, and inversion, of patriarchal norms, to a questioning of violence perhaps nowhere clearer than in the insistence on images of decapitation. While exploring some of these forms attention comes to rest on the notion of the afterimage that would result from the continuous intersections between poem and image.

Historical Perception of Visual Art Forms in Anlo Traditional Marriage Rites in Ghana

Historical Perception of Visual Art Forms in Anlo Traditional Marriage Rites in Ghana Godwin Gbadagba, Agbeyewornu Kofi Kemevor (PhD), Prosper Kwaku Asiedu Abstract In this study, an attempt was made to evaluate the symbolic relevance of visual art forms in Anlo traditional marriage rites in Ghana. The study population consisted of Custodians: Chiefs, Elders and married couples in Anloga and Keta. Through a non-probability sampling technique, precisely purposive technique, a sample size of twenty (20) respondents were chosen; thus, a chief, three elders and sixteen married couples. A multi approach data collection technique was employed which included observation, interview and focus group discussion for data collection. The study showed that marriage is a very important rite among the Anlo people, and every stage of the marriage process has visual effects which are symbolic.The philosophies and concepts behind these visual art forms become the norms and ethics which bind the society. Similarly, the society is taught to make art forms not just for their aesthetics but also as a way of preserving the culture of the people. The study recommended that inhabitants of Anlo should be educated on the importance of these artifacts. Besides, the preservation of cultural heritage should be the responsibility of every member of the society. Full Text: PDF DOI: 10.15640/ijaah.v8n1a7

Литературное образование в контексте STEAM-подхода (по материалам западных исследований)

The development of the STEAM-approach is one of the main trends in global education. It integrates Sciences (S), Тechnology (T), Engineering (E), Arts (A), and Mathematics (M). Future Specialists need comprehensive training in the exact Sciences, Biology, Engineering, and Design – and this future is being prepared today. STEAM education is introduced in Western schools from an early age. The most important theoretical position of this approach is the statement that a student who knows the artistic beginnings of life (literature, painting, music, art design), achieves more in mathematics, and in engineering, and in Sciences. STEAM-literature curriculum is also based on an interdisciplinary and applied approach. The purpose of a lesson on the analysis of a literary text, as a rule, is associated with the creation of a material object (model) by students, in which their knowledge of all the listed disciplines is comprehensively invested. The main tool for interpreting a literary text in this approach is design. Not just design tasks are solved in the classroom with its help – design is one of the basic forms of modern visual art. The main question, which the author of the article faces, is whether it is possible to implement such the technologies at school without losses for the studied work of art. The analysis of western models leads to the conclusion that the significance of literature, as an independent subject, changes within the STEAM-approach – part of its autonomy is delegated to other disciplines. At the same time, a new, unexpected configuration of subjects appears in the classroom: literature is now integrated with biology, design, and mathematics. Thus, the interdisciplinary basis of STEAM takes the teaching of literature to a new interdisciplinary level. At the same time, it raises some questions about the degree of presence of the literary text itself in this approach, and the laws of its creation and the depth of its interpretation by students.

A cor, a arte e a metáfora visual: um relato de experiência de revitalização urbanística

O presente artigo inicia-se por reflexões sobre os impactos e a transformação na vida de duas comunidades revitalizadas por intervenções socioculturais promovidas pelo uso de cores, na forma de arte visual, mais especificamente, as cidades de Medellín, na Colômbia, e Santa Catarina de Palopó, na Guatemala. A partir desse enquadramento geral, o artigo apresenta um relato de experiência do início de um projeto de recuperação de uma região da cidade de Maceió (Alagoas), mais precisamente a comunidade “Vila Redenção”. O projeto, intitulado “Intervenções urbanas no Polígono do CESMAC”, é desenvolvido por estudantes e professores do curso de Arquitetura e Urbanismo do Centro Universitário CESMAC e conta com a participação efetiva da comunidade local e de uma empresa parceira. A iniciativa focaliza o uso de heurísticas nas produções desenvolvidas, estimulando a capacidade criativa e inventiva dos estudantes. Essa capacidade, manifestada em expressões artísticas visuais, essencialmente metafóricas, é compreendida, neste artigo, à luz do conceito de blending, ou integração conceptual (FAUCONNIER & TURNER, 2002). O artigo constitui-se, em síntese, na sistematização do relato de uma experiência, em andamento, que institui-se como o campo de pesquisa para a autora.

KOMIK IKLAN KOMIK

Comics are a form of visual art that uses still images and is arranged in such a way in several panels that make up the fabric of the story. While Cergam is a picture that has served as an illustration in a series of stories. The types of comics that are rarely included in large groups of comics, namely Advertising Comics. Like Indie Comics, it's quite surprising why comic designers don't think about it. For certain types of products that are not too serious in advertising information, comics turn out to be a potential medium. Especially for the target audience of young people who prefer visual and entertaining images such as comics. Maybe because it is considered advertising was born from business needs. Not a pure work of art. Therefore "comic advertisements" are included in the category of public service media. Some famous comic artists are often "used" by producers to draw advertisements. The audience immediately recognized the painter by the way he told stories, the character's figures and the style of his strokes.

LINE AND COLOUR CREATION-ART THERAPY FOR PSYCHOTIC PATIENTS IN THE UILS (UNIT INFORMASI LAYANAN SOSIAL, UNIT OF SOCIAL SERVICE INFORMATION) MERUYA

Art Therapy is one of the solutions that might be applied in the movement of pursuing mental health awareness within the Indonesian society. The methods in Art Therapy combine the approaches from art, design and psychology altogether with the other disciplines. One of the examples is the line and colour-creation art therapy. This method might be applied to the patients of mental health disorder such as psychotic. The introduction of line and colour-creation into the art therapy has been inspired by the visual introduction that the infants experience for the very first time. Within the line and colour, there are light intensity, thin and thick line intensity, hand pressure intensity during the sketching activities, emotion intensity that goes after the thick and thin line intensity and also colour intensity altogether with the colour category namely hot, warm and cold. All of these aspects might be benefitted for the recovery process in terms of emotion, self-expression and selfactualization. Then, the line and colour creation-art therapy integrates all kinds of art under comfortable and non judgmental situationin order to facilitate the recovery process of the psychotic patients. To use art expressively means to enter the inner space within an individual’s heart in orderto find the inner feelings and to express these inner feelings in the form of visual art, movement, voice, writings and drama. This process encourages the freedom, the self-understanding, the insight and also trigger the creativity and the transpersonal awareness so that the recovery period might be increased byexpressing the feelings onto a sheet of paper. In this case, the position of art as an existential phenomenon becomes a bridge that unites rite, imagination and fantasy in such a way that other activities might be unable to perform since the objective of art is to represent the significance of an individual’s inner feeling instead of outer appearance. In other words, art might be considered as a symbolic form of human’s feelings. Departing from this elaboration, the researcher would like to initiate the implementation of a Community Service Program in UILS (Unit Informasi Layanan Sosial, Unit of Social Service Information) Meruya Selatan under the authority of Bina Laras Harapan Sentosa 1 Social Homes Cengkareng. The results of the Community Service Program are expected to increase the rate of psychotic patients’ recovery process by means of expression painting therapy for overcoming the mental health disorders.

Learning drawing: Sustaining the primacy of visualcy within a neo-liberal artschool curriculum

Abstract The paper champions an articulacy in drawing – visualcy – as central to a visual arts pedagogy, arguing that the one domain of human inquiry which distinguishes the visual arts from other disciplines is surely that surrounding the faculty of vision. The ascendency within the artworld of a relational aesthetics often devoid of perceptual insights is traced through a brief history of the relationships between visual artforms and their sociopolitical contexts, culminating with the shift of emphasis away from the perceptually intriguing and towards the contemporary imperatives of a professional practice defined in terms of the neo-liberal values permeating the UK Higher Education sector since 2010. The text rehabilitates the Formalist notion of enstrangement as a means of revitalizing the primacy of perceptual inquiry over 'looking through language', and is illustrated with drawings by the author.

Therapeutic Potencies of Indigenous Ghanaian Art Forms: A Case of Krobo Beads

In spite of the fact that several attempts have been made to study visual aspect of arts and though some attempts have been made to document visual aspect of arts use for therapeutic purposes, much attention has not been drawn to the study and documentation of the potencies of indigenous Ghanaian visual art forms. The quest for change in attitude towards assessing health care without any side effect in traditional and orthodox ways needed much to be desired. This study provides artful way of restoration without any side effect to battle aftermath. It assessed the efficacy of Krobos’ beads used for curative purposes. The study provides information on the traditional means of using beads for restoration among Krobos’ and further reviews the current trend of art therapy in other to provide road map for merging them for effective implementation and accessibility. A case study design was employed and findings indicated that, the potencies of Krobos’ beads are manifested in psychological, physical, emotional and mythical means. It is therefore recommended that, in writing of art text books and other art materials, the inclusion of Ghana’s artistic therapeutic potencies need to be included to enrich our repertoire of art historic knowledge. Keywords: Therapeutic, Potency, Curative, Art Forms, Efficacy and Krobo. DOI : 10.7176/JCSD/51-04 Publication date :September 30 th 2019