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artist</title> <meta name="description" content="Search results for: hacker artist"> <meta name="keywords" content="hacker artist"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none navbar-toggler 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id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="hacker artist"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 118</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: hacker artist</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">88</span> Trans and Queer Expressions of Religion in Brazil: How Music and Mission Work Can Be Used As a Tool of Refusal</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Cahlia%20A.%20Plett">Cahlia A. Plett</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Ventura Profana (Unholy Venture) is an Afro-Indigenous Brazilian performance artist, missionary, and advocate for trans or “travestí” issues in Brazil. In this paper, author will discuss how Profana acts as a pastor in aims of constructing possibilities of escape through scripture, congregation and performance art. In confronting religious “recolonization”, which refers to modern Judeo-Christian religions and their re-colonizing properties within Latin American countries, author argue that Profana’s research and art offer an opportunity to both use and decolonize religious-colonial projects through expressions of the self and spirituality based in queer Black, Brown and Indigenous futurities. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Religious%20Studies" title="Religious Studies">Religious Studies</a>, <a href="https://publications.waset.org/abstracts/search?q=Music" title=" Music"> Music</a>, <a href="https://publications.waset.org/abstracts/search?q=Queer%20studies" title=" Queer studies"> Queer studies</a>, <a href="https://publications.waset.org/abstracts/search?q=Decolonial" title=" Decolonial"> Decolonial</a> </p> <a href="https://publications.waset.org/abstracts/185459/trans-and-queer-expressions-of-religion-in-brazil-how-music-and-mission-work-can-be-used-as-a-tool-of-refusal" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/185459.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">49</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">87</span> Contemporary Visual Art and Shariah: A Conceptual Framework</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ishak%20Ramli">Ishak Ramli</a>, <a href="https://publications.waset.org/abstracts/search?q=Mohamad%20Noorman%20Masrek"> Mohamad Noorman Masrek</a>, <a href="https://publications.waset.org/abstracts/search?q=Muhamad%20Abdul%20Aziz%20Ab%20Gani"> Muhamad Abdul Aziz Ab Gani</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Islam places restrictions and limitation to the creation and ownership of visual art. Not all forms of visual arts are permissible in Islam. However, guidance on the creation and ownership of visual arts is not made plain and clear not only to the Islamic followers but also to the art community. Given this gap, this study attempts to develop a conceptual framework that will guide artist and art collectors on what constitute to valid and acceptable through the Islamic perspective. Based on this framework, several research checklist are proposed. It is highly useful especially for the researchers who are interested to study the topic. Qualitative research is the best choice to test run the paper work to attempt all the checklist which are formed. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=contemporary%20visual%20art" title="contemporary visual art">contemporary visual art</a>, <a href="https://publications.waset.org/abstracts/search?q=Shariah" title=" Shariah"> Shariah</a>, <a href="https://publications.waset.org/abstracts/search?q=conceptual%20framework" title=" conceptual framework"> conceptual framework</a>, <a href="https://publications.waset.org/abstracts/search?q=Islam" title=" Islam"> Islam</a> </p> <a href="https://publications.waset.org/abstracts/44579/contemporary-visual-art-and-shariah-a-conceptual-framework" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/44579.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">381</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">86</span> K-Pop Fandom: A Sub-Cultural Influencer on K-Pop Brand Attitude</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Patricia%20P.%20M.%20C.%20Lourenco">Patricia P. M. C. Lourenco</a>, <a href="https://publications.waset.org/abstracts/search?q=Sang%20Yong%20Kim"> Sang Yong Kim</a>, <a href="https://publications.waset.org/abstracts/search?q=Anaisa%20D.%20A.%20De%20Sena"> Anaisa D. A. De Sena</a> </p> <p class="card-text"><strong>Abstract:</strong></p> K-Pop fandom is a paradoxical dichotomy of two conceptual contexts: the Korean single fandom and the international fandom; both strongly influence K-Pop brand attitude. Collectivist, South Korea’s fans showcase their undivided support to one artist comeback towards earning a triple-crown in domestic music charts. In contrast, individualist international fans collectively ship a plethora of artists and collaborate amongst themselves to the continuous expansion of K-Pop into a mainstream cultural glocalization in international music charts. The distinct idiosyncrasies between the two groups creates a heterogeneous K-Pop brand attitude that is challenging to tackle marketing wise for lack of homogeneity in the sub-cultural K-Pop fandom. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=K-Pop%20fandom" title="K-Pop fandom">K-Pop fandom</a>, <a href="https://publications.waset.org/abstracts/search?q=single-fandom" title=" single-fandom"> single-fandom</a>, <a href="https://publications.waset.org/abstracts/search?q=multi-fandom" title=" multi-fandom"> multi-fandom</a>, <a href="https://publications.waset.org/abstracts/search?q=individualism" title=" individualism"> individualism</a>, <a href="https://publications.waset.org/abstracts/search?q=collectivism" title=" collectivism"> collectivism</a>, <a href="https://publications.waset.org/abstracts/search?q=brand%20attitude" title=" brand attitude"> brand attitude</a>, <a href="https://publications.waset.org/abstracts/search?q=sub-culture" title=" sub-culture"> sub-culture</a> </p> <a href="https://publications.waset.org/abstracts/83021/k-pop-fandom-a-sub-cultural-influencer-on-k-pop-brand-attitude" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/83021.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">286</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">85</span> Visual Representation and the De-Racialization of Public Spaces</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Donna%20Banks">Donna Banks</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In 1998 Winston James called for more research on the Caribbean diaspora and this ethnographic study, incorporating participant observation, interviews, and archival research, adds to the scholarship in this area. The research is grounded in the discipline of cultural studies but is cross-disciplinary in nature, engaging anthropology, psychology, and urban planning. This paper centers on community murals and their contribution to a more culturally diverse and representative community. While many museums are in the process of reassessing their collection, acquiring works, and developing programming to be more inclusive, and public art programs are investing millions of dollars in trying to fashion an identity in which all residents can feel included, local artists in neighborhoods in many countries have been using community murals to tell their stories. Community murals serve a historical, political, and social purpose and are an instrumental strategy in creative placemaking projects. Community murals add to the livability of an area. Even though official measurements of livability do not include race, ethnicity, and gender - which are egregious omissions - murals are a way to integrate historically underrepresented people into the wider history of a country. This paper draws attention to a creative placemaking project in the port city of Bristol, England. A city, like many others, with a history of spacializing race and racializing space. For this reason, Bristol’s Seven Saints of St. Pauls® Art & Heritage Trail, which memorializes seven Caribbean-born social and political change agents, is examined. The Seven Saints of St. Pauls® Art & Heritage Trail is crucial to the city, as well as the country, in its contribution to the de-racialization of public spaces. Within British art history, with few exceptions, portraits of non-White people who are not depicted in a subordinate role have been absent. The artist of the mural project, Michelle Curtis, has changed this long-lasting racist and hegemonic narrative. By creating seven large-scale portraits of individuals not typically represented visually, the artist has added them into Britain’s story. In these murals, however, we see more than just the likeness of a person; we are presented with a visual commentary that reflects each Saint’s hybrid identity of being both Black Caribbean and British, as well as their social and political involvement. Additionally, because the mural project is part of a heritage trail, the murals' are therapeutic and contribute to improving the well-being of residents and strengthening their sense of belonging. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=belonging" title="belonging">belonging</a>, <a href="https://publications.waset.org/abstracts/search?q=murals" title=" murals"> murals</a>, <a href="https://publications.waset.org/abstracts/search?q=placemaking" title=" placemaking"> placemaking</a>, <a href="https://publications.waset.org/abstracts/search?q=representation" title=" representation"> representation</a> </p> <a href="https://publications.waset.org/abstracts/158345/visual-representation-and-the-de-racialization-of-public-spaces" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/158345.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">90</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">84</span> The Forensic Analysis of Engravers' Handwriting</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Olivia%20Rybak-Karkosz">Olivia Rybak-Karkosz</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The purpose of this paper is to present the result of scientific research using forensic handwriting analysis. It was conducted to verify the stability and lability of handwriting of engravers and check if gravers transfer their traits from handwriting to plates and other surfaces they rework. This research methodology consisted of completing representative samples of signatures of gravers written on a piece of paper using a ballpen and signatures engraved on other surfaces. The forensic handwriting analysis was conducted using the graphic-comparative method (graphic method), and all traits were analysed. The paper contains a concluding statement of the similarities and differences between the samples. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=artist%E2%80%99s%20signatures" title="artist’s signatures">artist’s signatures</a>, <a href="https://publications.waset.org/abstracts/search?q=engraving" title=" engraving"> engraving</a>, <a href="https://publications.waset.org/abstracts/search?q=forensic%20handwriting%20analysis" title=" forensic handwriting analysis"> forensic handwriting analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=graphic-comparative%20method" title=" graphic-comparative method"> graphic-comparative method</a> </p> <a href="https://publications.waset.org/abstracts/152839/the-forensic-analysis-of-engravers-handwriting" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/152839.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">102</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">83</span> The Forensic Handwriting Analysis of a Painter’s Signature: Claude Monet’s Case</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Olivia%20Rybak-Karkosz">Olivia Rybak-Karkosz</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper's purpose was to present a case study on a questioned Claude Monet's signature forensic handwriting analysis. It is an example taken from the author’s experience as a court handwriting expert. A comparative study was conducted to determine whether the signature resembles similarities (and if so, to what measure) with the features representing the writing patterns and their natural variability typical for Claude Monet. It was conducted to check whether all writing features are within the writer's normal range of variation. The paper emphasizes the difficulties and challenges encountered by the forensic handwriting expert while analysing the questioned signature. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=artist%E2%80%99s%20signatures" title="artist’s signatures">artist’s signatures</a>, <a href="https://publications.waset.org/abstracts/search?q=authenticity%20of%20an%20artwork" title=" authenticity of an artwork"> authenticity of an artwork</a>, <a href="https://publications.waset.org/abstracts/search?q=forensic%20handwriting%20analysis" title=" forensic handwriting analysis"> forensic handwriting analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=graphic-comparative%20method" title=" graphic-comparative method"> graphic-comparative method</a> </p> <a href="https://publications.waset.org/abstracts/152843/the-forensic-handwriting-analysis-of-a-painters-signature-claude-monets-case" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/152843.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">114</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">82</span> Patterns Obtained by Using Knitting Technique in Textile Crafts</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=%C3%96zlem%20Erzurumlu">Özlem Erzurumlu</a>, <a href="https://publications.waset.org/abstracts/search?q=Nazan%20Oskay"> Nazan Oskay</a>, <a href="https://publications.waset.org/abstracts/search?q=Ece%20Melek"> Ece Melek</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Knitting which is one of the textile manufacturing techniques is manufactured by using the system of single yarn. Knitting wares consisting of loops structurally have flexible structures. Knitting can be shaped and given volume easily due to increasing or decreasing the number of loops, being manufactured in circular form and its flexible structure. While the knitting wares are basically being manufactured to meet the requirements, it takes its place in the art field overflowing outside of industrial production later. Textile artist ensures his ideas to convert into artistic product by using textiles and non-textiles with aesthetic concerns and creative impulses. When textile crafts are observed at the present time we see that knitting technique has an extensive area of use such as sculpture, panel, installation art and performing art. It is examined how the knitting technique is used in textile crafts observing patterns obtained by this technique in textile crafts in this study. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=art" title="art">art</a>, <a href="https://publications.waset.org/abstracts/search?q=textile" title=" textile"> textile</a>, <a href="https://publications.waset.org/abstracts/search?q=knitting%20art" title=" knitting art"> knitting art</a>, <a href="https://publications.waset.org/abstracts/search?q=textile%20crafts" title=" textile crafts"> textile crafts</a> </p> <a href="https://publications.waset.org/abstracts/28234/patterns-obtained-by-using-knitting-technique-in-textile-crafts" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/28234.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">707</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">81</span> Semiotics of the New Commercial Music Paradigm</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mladen%20Milicevic">Mladen Milicevic</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This presentation will address how the statistical analysis of digitized popular music influences the music creation and emotionally manipulates consumers.Furthermore, it will deal with semiological aspect of uniformization of musical taste in order to predict the potential revenues generated by popular music sales. In the USA, we live in an age where most of the popular music (i.e. music that generates substantial revenue) has been digitized. It is safe to say that almost everything that was produced in last 10 years is already digitized (either available on iTunes, Spotify, YouTube, or some other platform). Depending on marketing viability and its potential to generate additional revenue most of the “older” music is still being digitized. Once the music gets turned into a digital audio file,it can be computer-analyzed in all kinds of respects, and the similar goes for the lyrics because they also exist as a digital text file, to which any kin of N Capture-kind of analysis may be applied. So, by employing statistical examination of different popular music metrics such as tempo, form, pronouns, introduction length, song length, archetypes, subject matter,and repetition of title, the commercial result may be predicted. Polyphonic HMI (Human Media Interface) introduced the concept of the hit song science computer program in 2003.The company asserted that machine learning could create a music profile to predict hit songs from its audio features Thus,it has been established that a successful pop song must include: 100 bpm or more;an 8 second intro;use the pronoun 'you' within 20 seconds of the start of the song; hit the bridge middle 8 between 2 minutes and 2 minutes 30 seconds; average 7 repetitions of the title; create some expectations and fill that expectation in the title. For the country song: 100 bpm or less for a male artist; 14-second intro; uses the pronoun 'you' within the first 20 seconds of the intro; has a bridge middle 8 between 2 minutes and 2 minutes 30 seconds; has 7 repetitions of title; creates an expectation,fulfills it in 60 seconds.This approach to commercial popular music minimizes the human influence when it comes to which “artist” a record label is going to sign and market. Twenty years ago,music experts in the A&R (Artists and Repertoire) departments of the record labels were making personal aesthetic judgments based on their extensive experience in the music industry. Now, the computer music analyzing programs, are replacing them in an attempt to minimize investment risk of the panicking record labels, in an environment where nobody can predict the future of the recording industry.The impact on the consumers taste through the narrow bottleneck of the above mentioned music selection by the record labels,created some very peculiar effects not only on the taste of popular music consumers, but also the creative chops of the music artists as well. What is the meaning of this semiological shift is the main focus of this research and paper presentation. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=music" title="music">music</a>, <a href="https://publications.waset.org/abstracts/search?q=semiology" title=" semiology"> semiology</a>, <a href="https://publications.waset.org/abstracts/search?q=commercial" title=" commercial"> commercial</a>, <a href="https://publications.waset.org/abstracts/search?q=taste" title=" taste"> taste</a> </p> <a href="https://publications.waset.org/abstracts/26177/semiotics-of-the-new-commercial-music-paradigm" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/26177.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">393</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">80</span> Embracing Failure and Experimentation: A Journey through Artistic Residency</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hala%20Ali">Hala Ali</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the evolving landscape of contemporary art, the value of failure and experimentation plays a central role in reshaping artistic research. This paper explores an artistic residency where the focus shifted from traditional practices of ink on canvas to performance art using the human body as a medium of expression. This residency emphasized uncertainty, experimentation, and emotional expression as the core of the process. Through collaboration between a calligrapher and a visual artist, the performance engaged themes of seduction, silence, and the transition between reality and abstraction. In alignment with experimental art practices, the process itself became the artwork, embracing moments of failure and disruption as key components of creative exploration. This research integrates theories from neuroscience, psychology, and artistic failure, drawing on the insights of thinkers like John Cage, Samuel Beckett, and Cornelius Cardew to further contextualize the residency’s impact. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=embodied%20art" title="embodied art">embodied art</a>, <a href="https://publications.waset.org/abstracts/search?q=emotional%20communication" title=" emotional communication"> emotional communication</a>, <a href="https://publications.waset.org/abstracts/search?q=mindfulness%20in%20art" title=" mindfulness in art"> mindfulness in art</a>, <a href="https://publications.waset.org/abstracts/search?q=nonverbal%20communication" title=" nonverbal communication"> nonverbal communication</a>, <a href="https://publications.waset.org/abstracts/search?q=performance%20art" title=" performance art"> performance art</a> </p> <a href="https://publications.waset.org/abstracts/192388/embracing-failure-and-experimentation-a-journey-through-artistic-residency" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/192388.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">22</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">79</span> Kosodum Tribal Dance Series, Series 1 Dhemsa and Rela: An Example of an Exceptional Inter-Organizational Cooperation for the Preservation of Tribal Dance Form</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Vidya%20Meshram">Vidya Meshram</a>, <a href="https://publications.waset.org/abstracts/search?q=Shrinivas%20Surpam"> Shrinivas Surpam</a>, <a href="https://publications.waset.org/abstracts/search?q=Akshay%20Kokode"> Akshay Kokode</a>, <a href="https://publications.waset.org/abstracts/search?q=Laxman%20Shedmake"> Laxman Shedmake</a>, <a href="https://publications.waset.org/abstracts/search?q=Ramesh%20Parchake"> Ramesh Parchake</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Tribal dance form is an integral part of the tribal culture as they represent the traditional culture of the tribal community. This article provide the reasons for the need to preserve the tribal dance form of Indian tribal people as a part of the cultural heritage. This article describe our experience of co-ordination of three organization to conduct a dance performance of Gond Tribe artists in the Mumbai City. This is the part of the promotion of tribal artist at big platform, although the preservation and awareness of tribal dance form in the metro cities. This is an example of an exceptional Inter-Organizational Cooperation between Kosodum Welfare Private Limited, GondwanaJangomDhemsaRelaNrutya Dal &GondwanaMitraMandal, Mumbai, for the preservation of tribal dance form. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=tribal" title="tribal">tribal</a>, <a href="https://publications.waset.org/abstracts/search?q=art" title=" art"> art</a>, <a href="https://publications.waset.org/abstracts/search?q=culture" title=" culture"> culture</a>, <a href="https://publications.waset.org/abstracts/search?q=preservation" title=" preservation"> preservation</a> </p> <a href="https://publications.waset.org/abstracts/153879/kosodum-tribal-dance-series-series-1-dhemsa-and-rela-an-example-of-an-exceptional-inter-organizational-cooperation-for-the-preservation-of-tribal-dance-form" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/153879.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">172</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">78</span> Encounter, Dialogue and Presence in Doris Salcedo's Works</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Wen-Shu%20Lai">Wen-Shu Lai</a>, <a href="https://publications.waset.org/abstracts/search?q=Yi-Ting%20Wang"> Yi-Ting Wang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The purpose of this paper is to discuss and clarify what are the essences of Colombian-born sculptor Doris Salcedo’s works. Under the frameworks of Buber’s dialogical philosophy of the “I-Thou relation” and Zurmuehlen’s philosophy of “Art as Presence” within the context of art praxis, Salcedo’s selected works are analyzed and interpreted. Salcedo’s sculptures and installations have expressed her concerns of the collective and personal memories within the context of Colombia’s violent, historical and political conflicts, especially the trauma inscribed onto her fellow people. Salcedo tried to rescue that memory though her work does not directly represent the violent incidents happened in Colombia. They are indirect portraits of the disappeared, the victims, and the lack of identity. What the viewers see is something in between vanishing and emergence, personal and collective. The work, the artist and the viewer are witnesses and also survivors of Columbia’s violent incidents. On the site, the work, the disappeared and the witness-survivors encounter each other, then mourning, memory and dialogue are unfolded, brought to present. Firstly, it is the power of encounter that allows the viewer-witness to recognize the effaced victims, repressive violence, and the profound mourning for the loss, then restore their existence through dialogues and bring them to present. In her sculptures and installations, the displacement of the fragments and the incoherent sites make these daily household objects become unfamiliar, arose feelings of uncanniness of the viewer. The feelings of alienation, confusion, displacement bring the viewer to here and now. The more one studies these objects and sites, the more hidden details begin to appear. And the more one looks at the details, the more absent memories or stories reveals themselves and becomes present. Salcedo’s work is about loss, displacement and alienation caused by violence. She expressed that words are no longer possible when one deals with violence. However, her installation translates the violence, memory, and loss of beloved ones into a place of dialogue, in which the visitors can immerse themselves in a twilight zone between knowing and not knowing, remembering and forgetting. The spaces are the sites or non-sites inhabited by the remains or traces of the victims, the wonders of the survivor-witnesses where they join together through encounter, remain present to others through genuine dialogue. In the moment, the past memory and the ongoing life merge, accept each other, and reconcile. Salcedo reconfigures the silent violence and repressive history in Colombia and transforms them into sites and installations. The victims, the viewer and the artist join together while contemplating and sharing the human situation of silent repression. In the moment of contemplating, a dialogue, spoken or not, occurs in the specific sites. People have become aware and present, and mutual understanding has achieved. This research concludes that encounter, presence and dialogue are the three essences embedded in Salcedo’s works. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=dialogue" title="dialogue">dialogue</a>, <a href="https://publications.waset.org/abstracts/search?q=Doris%20Salcedo" title=" Doris Salcedo"> Doris Salcedo</a>, <a href="https://publications.waset.org/abstracts/search?q=encounter" title=" encounter"> encounter</a>, <a href="https://publications.waset.org/abstracts/search?q=presence" title=" presence "> presence </a> </p> <a href="https://publications.waset.org/abstracts/25570/encounter-dialogue-and-presence-in-doris-salcedos-works" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/25570.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">381</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">77</span> Values That Should Be Taken into Account in the Arts: The Tension between Economic Influences and Cultural Values</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mohammad%20Mehdi%20Mazaheri">Mohammad Mehdi Mazaheri</a>, <a href="https://publications.waset.org/abstracts/search?q=Mohammad%20Motiee%20Lahromi"> Mohammad Motiee Lahromi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Recently the two matters of how to evaluate art and what the influencing economic effects on cultural values are have attracted many researchers to investigate them. Therefore, in the present article the researcher made an attempt to answer the above questions. However, the fundamental distinction between this article and the other ones is in comparing the economic value (shown by monetary phrases) with cultural values (that reflects the aesthetic values and the importance of the artist). This article shows a different and trivial distinction that has a very clearly pivotal significance in the process of cultural policy making. The economic activities would be influenced when there are cultural values. The increase of commercial activities is measured by impact assessment. In other words, the value of culture is reflected in the satisfaction of the users of cultural activities. This kind of value is measured by “willingness to pay” researches. The researcher believes that these two values are dominant in the cultural policy but they include many aspects and are presented by different kinds of communities. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=economic%20influence" title="economic influence">economic influence</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20values" title=" cultural values"> cultural values</a>, <a href="https://publications.waset.org/abstracts/search?q=monetary%20phrases" title=" monetary phrases"> monetary phrases</a>, <a href="https://publications.waset.org/abstracts/search?q=aesthetic%20values" title=" aesthetic values"> aesthetic values</a> </p> <a href="https://publications.waset.org/abstracts/12116/values-that-should-be-taken-into-account-in-the-arts-the-tension-between-economic-influences-and-cultural-values" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/12116.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">483</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">76</span> Non-Fungible Token (NFT) - Used in the Music Industry for Independent Artists without a Music Recording Label</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bartholomew%20Badar">Bartholomew Badar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> An NFT is a digital certificate with rights to own an asset, including various valuable digital goods such as art pieces, music items, collectibles, etc. The market for NFTs started developing in 2017 and has lately seen increased growth as crypto-currencies and the blockchain market continue to gain popularity. This study aims to understand potential uses for NFTs concerning the music industry and record labels. Independent artists struggle to distribute and sell their music without the help of a record label. The NFT marketplace could be a great tool to eliminate this problem. The research objective is to identify possibilities for independent artists to own their music rights and share value with an audience. We see a trend of new-school music artists trying to enter the music NFT market by creating visualizers, beats, cover art, etc. To analyze various existing music NFT assets and determine whether or not independent artists could monetize their music without a record label is the main focus of this scholarly paper. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=blockchain" title="blockchain">blockchain</a>, <a href="https://publications.waset.org/abstracts/search?q=crypto-currency" title=" crypto-currency"> crypto-currency</a>, <a href="https://publications.waset.org/abstracts/search?q=music" title=" music"> music</a>, <a href="https://publications.waset.org/abstracts/search?q=artist" title=" artist"> artist</a>, <a href="https://publications.waset.org/abstracts/search?q=NFT" title=" NFT"> NFT</a> </p> <a href="https://publications.waset.org/abstracts/144397/non-fungible-token-nft-used-in-the-music-industry-for-independent-artists-without-a-music-recording-label" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/144397.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">177</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">75</span> Face Sketch Recognition in Forensic Application Using Scale Invariant Feature Transform and Multiscale Local Binary Patterns Fusion</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Gargi%20Phadke">Gargi Phadke</a>, <a href="https://publications.waset.org/abstracts/search?q=Mugdha%20Joshi"> Mugdha Joshi</a>, <a href="https://publications.waset.org/abstracts/search?q=Shamal%20Salunkhe"> Shamal Salunkhe</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Facial sketches are used as a crucial clue by criminal investigators for identification of suspects when the description of eyewitness or victims are only available as evidence. A forensic artist develops a sketch as per the verbal description is given by an eyewitness that shows the facial look of the culprit. In this paper, the fusion of Scale Invariant Feature Transform (SIFT) and multiscale local binary patterns (MLBP) are proposed as a feature to recognize a forensic face sketch images from a gallery of mugshot photos. This work focuses on comparative analysis of proposed scheme with existing algorithms in different challenges like illumination change and rotation condition. Experimental results show that proposed scheme can lead to better performance for the defined problem. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=SIFT%20feature" title="SIFT feature">SIFT feature</a>, <a href="https://publications.waset.org/abstracts/search?q=MLBP" title=" MLBP"> MLBP</a>, <a href="https://publications.waset.org/abstracts/search?q=PCA" title=" PCA"> PCA</a>, <a href="https://publications.waset.org/abstracts/search?q=face%20sketch" title=" face sketch"> face sketch</a> </p> <a href="https://publications.waset.org/abstracts/85747/face-sketch-recognition-in-forensic-application-using-scale-invariant-feature-transform-and-multiscale-local-binary-patterns-fusion" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/85747.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">336</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">74</span> An Analysis of Conversation Structure of Oprah Winfrey and Justin Bieber Utterances on The Oprah Winfrey Show</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Najib%20Khumaidillah">Najib Khumaidillah</a> </p> <p class="card-text"><strong>Abstract:</strong></p> A conversation needs skills to create the good flow of it. The skills also need to be paid attention by a host like Oprah Winfrey and Justin Bieber as an artist. This study is aimed at describing turn taking strategies and adjacency pairs used by the speakers. The data are from one segment of The Oprah Winfrey Show’s transcription with Justin Bieber. Those are analyzed by Stenstorm’s turn taking theories and adjacency pairs theories. From the analysis, it was found that both speakers use various turn taking strategies and adjacency pairs. These findings are hoped to be an example for non-native English speaker in doing English conversation and advance people’s comprehension of how to organize good conversation structure. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=adjacency%20pairs" title="adjacency pairs">adjacency pairs</a>, <a href="https://publications.waset.org/abstracts/search?q=conversation%20structure" title=" conversation structure"> conversation structure</a>, <a href="https://publications.waset.org/abstracts/search?q=the%20Oprah%20Winfrey%20show" title=" the Oprah Winfrey show"> the Oprah Winfrey show</a>, <a href="https://publications.waset.org/abstracts/search?q=turn%20taking" title=" turn taking"> turn taking</a> </p> <a href="https://publications.waset.org/abstracts/55230/an-analysis-of-conversation-structure-of-oprah-winfrey-and-justin-bieber-utterances-on-the-oprah-winfrey-show" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/55230.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">195</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">73</span> Interaction between University Art Gallery and the Community through Public Art Exhibitions</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Qiao%20Mao">Qiao Mao</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Starting from the theoretical viewpoints of relational aesthetics, this study explores the relationship between the university art gallery and the communities, taking Art Scattering Program in the Name of Trees of the Art Gallery of National Taiwan Normal University (NTNU) as a case. The researcher uses observational and interview methods to obtain research materials to explore how university art galleries interact with communities through public art exhibitions and strengthen the relatively weak relationships with community residents. The researcher also observes how community residents can change their opinions about the university gallery by participating in public art exhibitions. The results show that the university art gallery can effectively establish the interaction with the community residents and repair the relationship with them through such programs as "collection-sharing," "teacher-student co-creation," "artist stationing," and "education promotion activities," playing an active role in promoting interpersonal communication, sustaining the natural environment development and improving community public space. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=university%20art%20gallery" title="university art gallery">university art gallery</a>, <a href="https://publications.waset.org/abstracts/search?q=public%20art" title=" public art"> public art</a>, <a href="https://publications.waset.org/abstracts/search?q=relational%20aesthetics" title=" relational aesthetics"> relational aesthetics</a>, <a href="https://publications.waset.org/abstracts/search?q=communities" title=" communities"> communities</a>, <a href="https://publications.waset.org/abstracts/search?q=interaction" title=" interaction"> interaction</a> </p> <a href="https://publications.waset.org/abstracts/152525/interaction-between-university-art-gallery-and-the-community-through-public-art-exhibitions" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/152525.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">86</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">72</span> The Significance of ‘Practice’ in Art Research: Indian and Western Perspective</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mukta%20Avachat-Shirke">Mukta Avachat-Shirke</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The process of manifestation in art has been studied deeply by various Indian and Western philosophers through times. In the art of painting, ‘Practice’ is always considered as techniques or making and ‘Theory’ is related to intelligence or the ‘conceptual.' The question about the significance of ‘Practice’ in artistic research has been a topic of debate. The aim of this qualitative study is to find the relevance of practice and theory while creating artworks. This study analyzes the thoughts and philosophy of Abhinavgupta, Hegel, and Croce to find a new perspective for looking at practice and theory within artistic research. With the method of grounded theory, the study attempts to establish the importance of both in artistic research. It discusses the issues like stages of creating art, role of tacit knowledge and importance of the decision-making the ability of the artist. This comparative analysis of these three philosophers along with the present systems can be used as a point of reference for further developments in the pedagogy of art research and artists, to understand the psychology and to follow the process of creativity effectively. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=artistic%20research" title="artistic research">artistic research</a>, <a href="https://publications.waset.org/abstracts/search?q=Indian%20philosophy" title=" Indian philosophy"> Indian philosophy</a>, <a href="https://publications.waset.org/abstracts/search?q=practice" title=" practice"> practice</a>, <a href="https://publications.waset.org/abstracts/search?q=Western%20Philosophy" title=" Western Philosophy"> Western Philosophy</a> </p> <a href="https://publications.waset.org/abstracts/60647/the-significance-of-practice-in-art-research-indian-and-western-perspective" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/60647.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">299</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">71</span> Exploring the Landscape of Information Visualization through a Mark Lombardi Lens</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Alon%20Friedman">Alon Friedman</a>, <a href="https://publications.waset.org/abstracts/search?q=Antonio%20Sanchez%20Chinchon"> Antonio Sanchez Chinchon</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This bibliometric study takes an artistic and storytelling approach to explore the term ”information visualization.” Analyzing over 1008 titles collected from databases that specialize in data visualization research, we examine the titles of these publications to report on the characteristics and development trends in the field. Employing a qualitative methodology, we delve into the titles of these publications, extracting leading terms and exploring the cooccurrence of these terms to gain deeper insights. By systematically analyzing the leading terms and their relationships within the titles, we shed light on the prevailing themes that shape the landscape of ”information visualization” by employing the artist Mark Lombardi’s techniques to visualize our findings. By doing so, this study provides valuable insights into bibliometrics visualization while also opening new avenues for leveraging art and storytelling to enhance data representation. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=bibliometrics%20analysis" title="bibliometrics analysis">bibliometrics analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=Mark%20Lombardi%20design" title=" Mark Lombardi design"> Mark Lombardi design</a>, <a href="https://publications.waset.org/abstracts/search?q=information%20visualization" title=" information visualization"> information visualization</a>, <a href="https://publications.waset.org/abstracts/search?q=qualitative%20methodology" title=" qualitative methodology"> qualitative methodology</a> </p> <a href="https://publications.waset.org/abstracts/171915/exploring-the-landscape-of-information-visualization-through-a-mark-lombardi-lens" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/171915.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">90</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">70</span> Symptomatic Strategies: Artistic Approaches Resembling Psychiatric Symptoms</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=B.%20K%C3%B6rner">B. Körner</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper compares deviant behaviour in two different readings: 1) as symptomatic for so-called ‘mental illness’ and 2) as part of artistic creation. It analyses works of performance art in the respective frames of psychiatric evaluation and performance studies. This speculative comparison offers an alternative interpretation of mad behaviour beyond pathologisation. It questions the distinction of psychiatric diagnosis, which can contribute to reducing the stigmatisation of mad people. The stigma associated with madness entails exclusion, prejudice, and systemic oppression. Symptoms of psychiatric diagnoses can be considered as behaviour exceptional to the psychological norm. This deviant behaviour constitutes an outsider role which is also defining for the societal role of ‘the artist’, whose transgressions of the norm are expected and celebrated. The research proposes the term ‘artistic exceptionalism’ for this phenomenon. In this study, a set of performance artworks are analysed within the frame of an art-theoretical interpretation and as if they were the basis of a psychiatric assessment. This critical comparison combines the perspective on ‘mental illness’ of mad studies with methods of interpretation used in performance studies. The research employs auto theory and artistic research; interweaving lived experience with scientific theory building through the double role of the author as both performance artist and survivor researcher. It is a distinctly personal and mad thought experiment. The research proposes three major categories of artistic strategies approaching madness: (a) confronting madness (processing and publicly addressing one's own experiences with mental distress through artistic creation), (b) creating critical conditions (conscious or unconscious, voluntary or involuntary creation of crisis situations in order to create an intense experience for a work of art), and (c) symptomatic strategies. This paper focuses on the last of the three categories: symptomatic strategies. These can be described as artistic methods with parallels to forms of coping with and/or symptoms of ‘mental disorders.’ These include, for example feverish activity, a bleak worldview, additional perceptions, an urge for order, and the intensification of emotional experience. The proposed categories are to be understood as a spectrum of approaches that are not mutually exclusive. This research does not aim to diagnose or pathologise artists or their strategies; disease value is neither sought nor assumed. Neither does it intend to belittle psychological suffering, implying that it cannot be so bad if it is productive for artists. It excludes certain approaches that romanticise and/or exoticise mental distress, for example, artistic portrayal of people in mental crisis (e.g., documentary-observational or exoticising depictions) or the deliberate and exaggerated imitation of their forms of expression and behaviour as ‘authentic’ (e.g., Art Brut). These are based on the othering of the Mad and thus perpetuate the social stigma to which they are subjected. By noting that the same deviant behaviour can be interpreted as the opposite in different contexts, this research offers an alternative approach to madness beyond the confines of psychiatry. It challenges the distinction of psychiatric diagnosis and exposes its social constructedness. Hereby, it aims to empower survivors and reduce the stigmatisation of madness. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=artistic%20research" title="artistic research">artistic research</a>, <a href="https://publications.waset.org/abstracts/search?q=mad%20studies" title=" mad studies"> mad studies</a>, <a href="https://publications.waset.org/abstracts/search?q=mental%20health" title=" mental health"> mental health</a>, <a href="https://publications.waset.org/abstracts/search?q=performance%20art" title=" performance art"> performance art</a>, <a href="https://publications.waset.org/abstracts/search?q=psychiatric%20stigma" title=" psychiatric stigma"> psychiatric stigma</a> </p> <a href="https://publications.waset.org/abstracts/160185/symptomatic-strategies-artistic-approaches-resembling-psychiatric-symptoms" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/160185.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">79</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">69</span> Nazi Propaganda and the 1930 Berlin Film Premiere of “All Quiet on the Western Front”</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Edward%20C.%20Smith">Edward C. Smith</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Historical narration in literature and film is an act that necessarily develops and deforms history, whether consciously or unconsciously. Such “translation” suffers or thrives depending on its historical context and on the ability of the artist/artists to make choices that enhance or diminish social and political reality. This “translation” and its challenges is examined from within the historical and political context of the 1930 Berlin film premiere of “All Quiet on the Western Front,” a film based on Erich Maria Remarque’s 1928 best-selling novel. Both the film and the novel appeared during a period in which the “aestheticization” of reality predominated. This was an era in early 20th-century European society in which life was conceived of as innately artistic and structured like an art form. The emergence of this modern consciousness, one in which memory and history surrendered their former authority, enabled conservative propaganda of the period to denounce all art that did not adhere conceptually to its political tenets, with “All Quiet” becoming yet another of its “victims.” <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=documentary%20and%20propaganda%20film" title="documentary and propaganda film">documentary and propaganda film</a>, <a href="https://publications.waset.org/abstracts/search?q=film%20and%20TV%20audiences" title=" film and TV audiences"> film and TV audiences</a>, <a href="https://publications.waset.org/abstracts/search?q=international%20literature%20in%20film%20studies" title=" international literature in film studies"> international literature in film studies</a>, <a href="https://publications.waset.org/abstracts/search?q=popular%20culture%20and%20film" title=" popular culture and film"> popular culture and film</a> </p> <a href="https://publications.waset.org/abstracts/20189/nazi-propaganda-and-the-1930-berlin-film-premiere-of-all-quiet-on-the-western-front" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/20189.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">405</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">68</span> Classical Music Unplugged: The Future of Classical Music Performance: Tradition, Technology, and Audience Engagement</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Orit%20Wolf">Orit Wolf</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Classical music performance is undergoing a profound transformation, marked by a confluence of technological advancements and evolving cultural dynamics. This academic paper explores the multifaceted changes and challenges faced by classical music performance, considering the impact of artificial intelligence (AI) along with other vital factors shaping this evolution. In the contemporary era, classical music is experiencing shifts in performance practices. This paper delves into these changes, emphasizing the need for adaptability within the classical music world. From repertoire selection and concert formats to artistic expression, performers and institutions navigate a delicate balance between tradition and innovation. We explore how these changes impact the authenticity and vitality of classical music performances. Furthermore, the influence of AI in the classical music concert world cannot be underestimated. AI technologies are making inroads into various aspects, from composition assistance to rehearsal and live performances. This paper examines the transformative effects of AI, considering how it enhances precision, adaptability, and creative exploration for musicians. We explore the implications for composers, performers, and the overall concert experience while addressing ethical concerns and creative opportunities. In addition to AI, there is the importance of cross-genre interactions within the classical music sphere. Mash-ups and collaborations with artists from diverse musical backgrounds are redefining the boundaries of classical music and creating works that resonate with a wider and more diverse audience. The benefits of cross-pollination in classical music seem crucial, offering a fresh perspective to listeners. As an active concert artist, Orit Wolf will share how the expectations of classical music audiences are evolving. Modern concertgoers seek not only exceptional musical performances but also immersive experiences that may involve technology, multimedia, and interactive elements. This paper examines how classical musicians and institutions are adapting to these changing expectations, using technology and innovative concert formats to deliver a unique and enriched experience to their audiences. As these changes and challenges reshape the classical music world, the need for a harmonious coexistence of tradition, technology, and innovation becomes evident. Musicians, composers, and institutions are striving to find a balance that ensures classical music remains relevant in a rapidly changing cultural landscape while maintaining the value it brings to compositions and audiences. This paper, therefore, aims to explore the evolving trends in classical music performance. It considers the influence of AI as one element within the broader context of change, highlighting the necessity of adaptability, cross-genre interactions, and a response to evolving audience expectations. By doing so, the classical music world can navigate this transformative period while preserving its timeless traditions and adding value to both performers and listeners. Orit Wolf, an international concert pianist, fulfils her vision to bring this music in new ways to mass audiences and will share her personal and professional experience as an artist who goes on stage and makes disruptive concerts. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cross%20culture%20collaboration" title="cross culture collaboration">cross culture collaboration</a>, <a href="https://publications.waset.org/abstracts/search?q=music%20performance%20and%20ai" title=" music performance and ai"> music performance and ai</a>, <a href="https://publications.waset.org/abstracts/search?q=classical%20music%20in%20the%20digital%20age" title=" classical music in the digital age"> classical music in the digital age</a>, <a href="https://publications.waset.org/abstracts/search?q=classical%20concerts" title=" classical concerts"> classical concerts</a>, <a href="https://publications.waset.org/abstracts/search?q=innovation%20and%20technology" title=" innovation and technology"> innovation and technology</a>, <a href="https://publications.waset.org/abstracts/search?q=performance%20innovation" title=" performance innovation"> performance innovation</a>, <a href="https://publications.waset.org/abstracts/search?q=audience%20engagement%20in%20classical%20concerts" title=" audience engagement in classical concerts"> audience engagement in classical concerts</a> </p> <a href="https://publications.waset.org/abstracts/175572/classical-music-unplugged-the-future-of-classical-music-performance-tradition-technology-and-audience-engagement" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/175572.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">64</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">67</span> The Temporal Dimension of Narratives: A Construct of Qualitative Time</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ani%20Thomas">Ani Thomas</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Every narrative is a temporal construct. Every narrative creates a qualitative experience of time for the viewer. The paper argues for the concept of a qualified time that emerges from the interaction between the narrative and the audience. The paper also challenges the conventional understanding of narrative time as either story time, real time or discourse time. Looking at narratives through the medium of Cinema, the study examines how narratives create and manipulate duration or durée, the qualitative experience of time as theorized by Henri Bergson. The paper further analyzes how Cinema and, by extension, narratives are nothing but Durée and the filmmaker, the artist of durée, who shape and manipulate the perception and emotions of the viewer through the manipulation and construction of durée. The paper draws on cinematic works to look at the techniques to demonstrate how filmmakers use, for example, editing, sound, compositional and production narratives etc., to create various modes of durée that challenge, amplify or unsettle the viewer’s sense of time. Bringing together the Viewer’s durée and exploring its interaction with the narrative construct, the paper explores the emergence of the new qualitative time, the narrative durée, that defines the audience experience. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cinema" title="cinema">cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=time" title=" time"> time</a>, <a href="https://publications.waset.org/abstracts/search?q=bergson" title=" bergson"> bergson</a>, <a href="https://publications.waset.org/abstracts/search?q=duree" title=" duree"> duree</a> </p> <a href="https://publications.waset.org/abstracts/176250/the-temporal-dimension-of-narratives-a-construct-of-qualitative-time" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/176250.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">148</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">66</span> Clay Palm Press: A Technique of Hand Building in Ceramics for Developing Conceptual Forms</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Okewu%20E.%20Jonathan">Okewu E. Jonathan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> There are several techniques of production in the field of ceramics. These different techniques overtime have been categorised under three methods of production which includes; casting, throwing and hand building. Hand building method of production is further broken down into other techniques and they include coiling, slabbing and pinching. Ceramic artists find the different hand building techniques to be very interesting, practicable and rewarding. This has encouraged ceramic artist in their various studios at different levels to experiment for further hand building techniques that could be unique and unusual. The art of <em>“Clay Palm Press”</em> is a development from studio experiment in a quest for uniqueness in conceptual ceramic practise. Clay palm press is a technique that requires no formal tutelage but at the same time, it is not easily comprehensible when viewed. It is a practice of putting semi-solid clay in the palm and inserting a closed fist pressure so as to take the imprint of the human palm. This clay production from the palm when dried, fired and explored into an art, work reveals an absolute awesomeness of what the palm imprint could result in. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=ceramics" title="ceramics">ceramics</a>, <a href="https://publications.waset.org/abstracts/search?q=clay%20palm%20press" title=" clay palm press"> clay palm press</a>, <a href="https://publications.waset.org/abstracts/search?q=conceptual%20forms" title=" conceptual forms"> conceptual forms</a>, <a href="https://publications.waset.org/abstracts/search?q=hand%20building" title=" hand building"> hand building</a>, <a href="https://publications.waset.org/abstracts/search?q=technique" title=" technique"> technique</a> </p> <a href="https://publications.waset.org/abstracts/87630/clay-palm-press-a-technique-of-hand-building-in-ceramics-for-developing-conceptual-forms" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/87630.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">280</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">65</span> Jean-Francois Lyotrard's Concept of Different and the Conceptual Problems of Beauty in Philosophy of Contemporary Art</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sunandapriya%20Bhikkhu">Sunandapriya Bhikkhu</a>, <a href="https://publications.waset.org/abstracts/search?q=Shimo%20Sraman"> Shimo Sraman</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The main objective of this research is to analytically study the concept of Lyotard’s different that rejects the monopoly criteria and single rule with the incommensurable, which can explain about conceptual problems of beauty in the philosophy of contemporary art. In Lyotard’s idea that basic value judgment of human should be a value like a phrase that is a small unit and an individual such as the aesthetic value that to explain the art world. From the concept of the anti-war artist that rejects the concept of the traditional aesthetic which cannot be able to explain the changing in contemporary society but emphasizes the meaning of individual beauty that is at the beginning of contemporary art today. In the analysis of the problem, the researcher supports the concept of Lyotard’s different that emphasizes the artistic expression which opens the space of perception and beyond the limitations of language process. Art is like phrase or small units that can convey a sense of humanity through the aesthetic value of the individual, not social criteria or universal. The concept of Lyotard’s different awakens and challenge us to the rejection of the single rule that is not open the social space to minorities by not accepting the monopoly criteria. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=difference" title="difference">difference</a>, <a href="https://publications.waset.org/abstracts/search?q=Jean-Francois%20Lyotard" title=" Jean-Francois Lyotard"> Jean-Francois Lyotard</a>, <a href="https://publications.waset.org/abstracts/search?q=postmodern" title=" postmodern"> postmodern</a>, <a href="https://publications.waset.org/abstracts/search?q=beauty" title=" beauty"> beauty</a>, <a href="https://publications.waset.org/abstracts/search?q=contemporary%20art" title=" contemporary art"> contemporary art</a> </p> <a href="https://publications.waset.org/abstracts/70728/jean-francois-lyotrards-concept-of-different-and-the-conceptual-problems-of-beauty-in-philosophy-of-contemporary-art" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/70728.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">307</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">64</span> The Patterns Designation by the Inspiration from Flower at Suan Sunandha Palace</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nawaporn%20Srisarankullawong">Nawaporn Srisarankullawong</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This research is about the creating the design by the inspiration of the flowers, which were once planted in Suan Sunandha Palace. The researcher have conducted the research regarding the history of Suan Sunandha Palace and the flowers which have been planted in the palace’s garden, in order to use this research to create the new designs in the future. The objective are as follows; 1. To study the shape and the pattern of the flowers in Suan Sunandha Palace, in order to select a few of them as the model to create the new design. 2. In order to create the flower design from the flowers in Suan Sunandha Palace by using the current photograph of the flowers which were once used to be planted inside the palace and using adobe Illustrator and Adobe Photoshop programs to create the patterns and the model. The result of the research: From the research, the researcher had selected three types of flowers to crate the pattern model; they are Allamanda, Orchids and Flamingo Plant. The details of the flowers had been reduced in order to show the simplicity and create the pattern model to use them for models, so three flowers had created three pattern models and they had been developed into six patterns, using universal artist techniques, so the pattern created are modern and they can be used for further decoration. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=patterns%20design" title="patterns design">patterns design</a>, <a href="https://publications.waset.org/abstracts/search?q=Suan%20Sunandha%20Palace" title=" Suan Sunandha Palace"> Suan Sunandha Palace</a>, <a href="https://publications.waset.org/abstracts/search?q=pattern%20of%20the%20flowers" title=" pattern of the flowers"> pattern of the flowers</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20arts%20and%20design" title=" visual arts and design"> visual arts and design</a> </p> <a href="https://publications.waset.org/abstracts/17311/the-patterns-designation-by-the-inspiration-from-flower-at-suan-sunandha-palace" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/17311.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">374</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">63</span> Doris Salcedo: Parameters of Political Commitment in Colombia</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Diana%20Isabel%20Torres%20Silva">Diana Isabel Torres Silva</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Doris Salcedo is the most prominent sculptor from Colombia ever and currently, one of the most prestigious Latin-American artists in the world. Her artwork, intended as political art, has war as a background, in particular the Colombian civil conflict, and it addresses the way that its violence affects victims’ lives irreparably. While Salcedo is internationally recognized as a talented and a politically committed artist, some Colombian critics consider her artwork as the propagandist and influenced by the interest of multinational companies and the organizations that fund it. This paper, as part of a more extended research project, attempts to demonstrate that Doris Salcedo’s artwork makes visible the victims suffering and mourning and compels the viewers’ sympathy, although its approach is superficial. It does not achieve a complete or complex understanding of the social and historical causes underneath the war and maybe because of that has become a successful commodity for the international arts market. The paper considers, firstly, the influence that Colombian Nuevo Teatro, from the sixties, had on Salcedo’s early political perspective and, secondly, analyzes in detail the first series of her artwork (1992-1998) and how those works address grieving. The focus point of this analysis will be the domestic furniture sculptures, which are the main symbolic element of Salcedo’s oeuvre. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Arts%20and%20politics" title="Arts and politics">Arts and politics</a>, <a href="https://publications.waset.org/abstracts/search?q=Doris%20Salcedo" title=" Doris Salcedo"> Doris Salcedo</a>, <a href="https://publications.waset.org/abstracts/search?q=Colombian%20art" title=" Colombian art"> Colombian art</a>, <a href="https://publications.waset.org/abstracts/search?q=Political%20Art" title=" Political Art"> Political Art</a> </p> <a href="https://publications.waset.org/abstracts/53134/doris-salcedo-parameters-of-political-commitment-in-colombia" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/53134.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">350</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">62</span> Perception of Violence through the Drawing: A Research with Mexican University Students</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yessica%20Martinez%20Soto">Yessica Martinez Soto</a>, <a href="https://publications.waset.org/abstracts/search?q=Cesar%20E.%20Jimenez%20Yanez"> Cesar E. Jimenez Yanez</a>, <a href="https://publications.waset.org/abstracts/search?q=Margarita%20Barak%20Velasquez"> Margarita Barak Velasquez</a>, <a href="https://publications.waset.org/abstracts/search?q=Yaralin%20Aceves%20Villanueva"> Yaralin Aceves Villanueva</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The presence of violent behavior in society is growing rapidly, which causes people to live in an environment of constant tension due to fear of becoming victims of violent acts. It is up to social scientists to be able to carry out analyzes in this regard to identify the different ways in which violence is normalized among people. The interest of this research work focuses on investigating the perception of violence in Mexican University students through the technique of drawing. To carry out this research, we worked with 67 university students from the Autonomous University of Baja California in Mexico, who drew an image of how they understood the concept of violence. His works showed us a variety of emotions, actions, and elements that relate and link with violence. One of the methodological tools to recognize and establish the link between the knowledge of a concept between discourse and practice is through graphic representations, that is, drawings. Although the drawing gives us a personal interpretation of the reality of each artist, the repetition of elements and the representation of similar situations allowed us to identify the degrees of incidence of the different types of violence and the areas in which it manifests itself. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=college%20students" title="college students">college students</a>, <a href="https://publications.waset.org/abstracts/search?q=Mexico" title=" Mexico"> Mexico</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20representations" title=" social representations"> social representations</a>, <a href="https://publications.waset.org/abstracts/search?q=violence" title=" violence"> violence</a> </p> <a href="https://publications.waset.org/abstracts/91278/perception-of-violence-through-the-drawing-a-research-with-mexican-university-students" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/91278.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">232</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">61</span> Assessment of Artists’ Socioeconomic and Working Conditions: The Empirical Case of Lithuania</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rusne%20Kregzdaite">Rusne Kregzdaite</a>, <a href="https://publications.waset.org/abstracts/search?q=Erika%20Godlevska"> Erika Godlevska</a>, <a href="https://publications.waset.org/abstracts/search?q=Morta%20Vidunaite"> Morta Vidunaite</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The main aim of this research is to explore existing methodologies for artists’ labour force and create artists’ socio-economic and creative conditions in an assessment model. Artists have dual aims in their creative working process: 1) income and 2) artistic self-expression. The valuation of their conditions takes into consideration both sides: the factors related to income and the satisfaction of the creative process and its result. The problem addressed in the study: tangible and intangible artists' criteria used for assessments creativity conditions. The proposed model includes objective factors (working time, income, etc.) and subjective factors (salary covering essential needs, self-satisfaction). Other intangible indicators are taken into account: the impact on the common culture, social values, and the possibility to receive awards, to represent the country in the international market. The empirical model consists of 59 separate indicators, grouped into eight categories. The deviation of each indicator from the general evaluation allows for identifying the strongest and the weakest components of artists’ conditions. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=artist%20conditions" title="artist conditions">artist conditions</a>, <a href="https://publications.waset.org/abstracts/search?q=artistic%20labour%20force" title=" artistic labour force"> artistic labour force</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20policy" title=" cultural policy"> cultural policy</a>, <a href="https://publications.waset.org/abstracts/search?q=indicator" title=" indicator"> indicator</a>, <a href="https://publications.waset.org/abstracts/search?q=assessment%20model" title=" assessment model"> assessment model</a> </p> <a href="https://publications.waset.org/abstracts/149554/assessment-of-artists-socioeconomic-and-working-conditions-the-empirical-case-of-lithuania" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/149554.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">151</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">60</span> Motivation and Criteria as Determinant Factors in Accepting New Talents on User-Generated Content (UGC): Youtube as a Platform</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shereen%20Nadira%20Binti%20Jasney">Shereen Nadira Binti Jasney</a>, <a href="https://publications.waset.org/abstracts/search?q=Mohd%20Syuhaidi%20Bin%20Abu%20Bakar"> Mohd Syuhaidi Bin Abu Bakar</a>, <a href="https://publications.waset.org/abstracts/search?q=Hafizah%20Binti%20Rosli"> Hafizah Binti Rosli </a> </p> <p class="card-text"><strong>Abstract:</strong></p> This quantitative study explored factors that motivate the public to use YouTube; and the elements of criteria, which the public are looking for to accept new talents on User-Generated Content (UGC). There are mass inputs on the net but the publics are still being very selective in accepting new talents. Thus, it is important to identify determinant factors that contribute to the acceptance of new talents on UGC. A total number of 236 respondents have participated in this study using Simple Random Sampling and they were analyzed with descriptive analysis. The findings of this paper advocate that tremendous expansion; and diversification YouTube music offers are main factors that motivated public viewers in using YouTube on accepting new talents. It is also found that by being relatable and concurrently providing interesting contents, having the artist name and song title in the YouTube talent’s title video and the number of views and likes of the video are some of the criteria that the public are looking for in accepting new talents on the UGC. This paper introduces YouTube as a mean of discovering new talents in the music industry where the public, especially the younger generations, whom are actively engaged with current digital landscape that they’ve been presently silver-plated. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=motivation" title="motivation">motivation</a>, <a href="https://publications.waset.org/abstracts/search?q=criteria" title=" criteria"> criteria</a>, <a href="https://publications.waset.org/abstracts/search?q=new%20talents" title=" new talents"> new talents</a>, <a href="https://publications.waset.org/abstracts/search?q=UGC" title=" UGC"> UGC</a>, <a href="https://publications.waset.org/abstracts/search?q=YouTube" title=" YouTube"> YouTube</a> </p> <a href="https://publications.waset.org/abstracts/40265/motivation-and-criteria-as-determinant-factors-in-accepting-new-talents-on-user-generated-content-ugc-youtube-as-a-platform" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/40265.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">287</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">59</span> Fu Hao From the East: Between Chinese Traditions and Western Pop Cultures</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yi%20Meng">Yi Meng</a>, <a href="https://publications.waset.org/abstracts/search?q=YunGao"> YunGao</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Having been studied and worked in North America and Europe, we, two Chinese art educators, have been enormously influenced by eastern and western cultures. Thus, we aim to enhance students’ learning experiences by exploring and amalgamating both cultures for art creating. This text draws on our action research study of students’ visual literacy practices in a foundation sketching course in a major Chinese university, exploring art forms by cross-utilizing various cultural aspects. Instead of relying on the predominant western observational drawing skills in our classroom, we taught students about ancient Chinese art in the provincial museum, using Fu Hao owl-shaped vessel, a Shang Dynasty national treasure, as the final sketch project of this course. We took up multimodal literacy, which emphasized students’ critical use of creativity to exploit the semiotic potentials of communicative modes to address diverse cultural issues through their multimodal design. We used the Hong Kong-based artist Tik Ka’s artworks to demonstrate the cultural amalgamation of Chinese traditions and western pop cultures. Collectively, these approaches create a dialogical space for students to experience, analyze, and negotiate with complex modes and potentially transform their understanding of both cultures by redesigning Fu Hao. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chinese%20traditions" title="Chinese traditions">Chinese traditions</a>, <a href="https://publications.waset.org/abstracts/search?q=western%20pop%20cultures" title=" western pop cultures"> western pop cultures</a>, <a href="https://publications.waset.org/abstracts/search?q=Fu%20Hao" title=" Fu Hao"> Fu Hao</a>, <a href="https://publications.waset.org/abstracts/search?q=arts%20education" title=" arts education"> arts education</a>, <a href="https://publications.waset.org/abstracts/search?q=design%20sketch" title=" design sketch"> design sketch</a> </p> <a href="https://publications.waset.org/abstracts/160082/fu-hao-from-the-east-between-chinese-traditions-and-western-pop-cultures" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/160082.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">119</span> </span> </div> </div> <ul class="pagination"> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=hacker%20artist&page=1" rel="prev">&lsaquo;</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=hacker%20artist&page=1">1</a></li> <li class="page-item active"><span class="page-link">2</span></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=hacker%20artist&page=3">3</a></li> <li class="page-item"><a class="page-link" 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