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sculpture</title> <meta name="description" content="Search results for: sculpture"> <meta name="keywords" content="sculpture"> <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 ml-auto" 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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="sculpture"> <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> 16</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: sculpture</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">16</span> Effects of Web-Enabled Sculpture Package on Colleges of Education Students’ Psychomotor Ability in Fine Arts in South-West, Nigeria</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ibrahim%20A.%20Kareem">Ibrahim A. Kareem</a>, <a href="https://publications.waset.org/abstracts/search?q=Sina%20O.%20Ayelaagbe"> Sina O. Ayelaagbe</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study investigated the effects of web-enabled Sculpture package on Colleges of Education students’ psychomotor level in Fine Arts in South-west, Nigeria. The objectives of this study were to: (i) determine the effect of web-enabled Sculpture package on Fine Arts Students’ performance; (ii) find out the effect of ability levels on Fine Arts Students’ performance and (iii) ascertain the interaction effect of treatment and ability levels on Fine Arts Students’ performance. The study was quasi-experimental design. A total of 48 Fine Arts Students participated in the study. There were 26 students in experimental and 22 for the control. The respondents were purposively sampled from Adeyemi College of Education, Ondo and Federal College of Education (Special) Oyo. Sculpture Achievement Test, Sculpture Skill Test and Sculpture ‘on the Spot’ Skill Assessment Instrument were validated by experts while Pearson’s Product Moment Correlation (PPMC) statistics was used to analyse the instrument while the remaining two instruments were subjected to Cronbach alpha statistics. Data were analysed using t-test and ANCOVA were used to test the hypotheses at 0.05 level of significance. The findings of the study revealed that: (i) Fine Arts Students’ in the experimental group performed significantly better than the control group; (ii) there was a significant difference among high, medium and low ability levels mean scores of Fine Arts Students’ performance in Colleges of Education; (iii) there was no significant interaction effect of treatment and ability levels on the mean scores of Fine Arts Students’ performance in Colleges of Education and. The study concluded that Fine Arts Students exposed to web-enabled Sculpture package performed better than those taught using the conventional method. Based on the study it was recommended that lecturers in Colleges of Education should endeavour to adapt and utilise web-enabled Sculpture package for teaching sculpture. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=fine%20art" title="fine art">fine art</a>, <a href="https://publications.waset.org/abstracts/search?q=psychomotor" title=" psychomotor"> psychomotor</a>, <a href="https://publications.waset.org/abstracts/search?q=sculpture" title=" sculpture"> sculpture</a>, <a href="https://publications.waset.org/abstracts/search?q=web-enabled" title=" web-enabled"> web-enabled</a> </p> <a href="https://publications.waset.org/abstracts/89403/effects-of-web-enabled-sculpture-package-on-colleges-of-education-students-psychomotor-ability-in-fine-arts-in-south-west-nigeria" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/89403.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">153</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">15</span> Scaffold on Trial: The Rhetorical Controversy of a Public Artifact in Minneapolis</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Cynthia%20Pope">Cynthia Pope</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Though traditional art has been strong on showcasing aesthetics to imbue pleasantries, modern public art has been breaking trends to push citizens beyond the pleasure of seeing beauty. Contemporary public sculpture, in particular, has been the impetus of provoking questions about community standards, identity, and race relations. A phenomenon involving Scaffold, a sculpture by artist Sam Durant, became the focal point of contention within Minneapolis, Minnesota, recently. With intentions to better understand the power public sculpture has to disrupt community identity, in this book, It will use primarily rhetorical theory to explain how all parties involved—The Walker Art Museum, the Dakota Nation, Durant, and local citizens—participated in a controversy touching on racial politics, identity, culture, history and public art. This mixed-methods case study examines the public artifact contextually through historical and cultural frameworks. Findings in this project will reveal Scaffold to be represented as a tool of empowered Caucasians to the exclusion of marginalized people. This project also informs the fields of public rhetoric and political identity, marginalized voices, and community and social justice initiatives to include the difficult topic of race and identity. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=public%20art%20controversy" title="public art controversy">public art controversy</a>, <a href="https://publications.waset.org/abstracts/search?q=technical%20communication" title=" technical communication"> technical communication</a>, <a href="https://publications.waset.org/abstracts/search?q=community%20narrative" title=" community narrative"> community narrative</a>, <a href="https://publications.waset.org/abstracts/search?q=ambient%20rhetoric" title=" ambient rhetoric"> ambient rhetoric</a> </p> <a href="https://publications.waset.org/abstracts/172241/scaffold-on-trial-the-rhetorical-controversy-of-a-public-artifact-in-minneapolis" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/172241.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">82</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">14</span> Evaluation of Japanese Kyoto Park in Terms of User Satisfaction</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ruhug%C3%BCl%20%C3%96zge%20Gemici">Ruhugül Özge Gemici</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The need for open space, which is an important problem especially since the 19th century, has become more important in today's conditions. The most important factor in increasing the livability of cities is the open and green areas. Parks are the most important of the urban open and green space elements that provide the most benefit to users. In this context, the user satisfaction of the Japanese Kyoto Park, which is the subject of the research, was evaluated in the light of the questionnaires. With this analysis, the satisfaction level of the user using the park was determined. Suggestions have been developed for the park to be handled and regulated according to the user requests and requirements changing over time. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=landscape" title="landscape">landscape</a>, <a href="https://publications.waset.org/abstracts/search?q=landscape%20design" title=" landscape design"> landscape design</a>, <a href="https://publications.waset.org/abstracts/search?q=open%20and%20green%20spaces" title=" open and green spaces"> open and green spaces</a>, <a href="https://publications.waset.org/abstracts/search?q=sculpture" title=" sculpture "> sculpture </a> </p> <a href="https://publications.waset.org/abstracts/107072/evaluation-of-japanese-kyoto-park-in-terms-of-user-satisfaction" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/107072.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">221</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">13</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">12</span> Semantic Differential Technique as a Kansei Engineering Tool to Enquire Public Space Design Requirements: The Case of Parks in Tehran</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nasser%20Koleini%20Mamaghani">Nasser Koleini Mamaghani</a>, <a href="https://publications.waset.org/abstracts/search?q=Sara%20Mostowfi"> Sara Mostowfi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The complexity of public space design makes it difficult for designers to simultaneously consider all issues for thorough decision-making. Among public spaces, the public space around people’s house is the most prominent space that affects and impacts people’s daily life. Considering recreational public spaces in cities, their main purpose would be to design for experiences that enable a deep feeling of peace and a moment of being away from the hectic daily life. Respecting human emotions and restoring natural environments, although difficult and to some extent out of reach, are key issues for designing such spaces. In this paper we propose to analyse the structure of recreational public spaces and the related emotional impressions. Furthermore, we suggest investigating how these structures influence people’s choice for public spaces by using differential semantics. According to Kansei methodology, in order to evaluate a situation appropriately, the assessment variables must be adapted to the user’s mental scheme. This means that the first step would have to be the identification of a space’s conceptual scheme. In our case study, 32 Kansei words and 4 different locations, each with a different sensual experience, were selected. The 4 locations were all parks in the city of Tehran (Iran), each with a unique structure and artifacts such as a fountain, lighting, sculptures, and music. It should be noted that each of these parks has different combination and structure of environmental and artificial elements like: fountain, lightning, sculpture, music (sound) and so forth. The first one was park No.1, a park with natural environment, the selected space was a fountain with motion light and sculpture. The second park was park No.2, in which there are different styles of park construction: ways from different countries, the selected space was traditional Iranian architecture with a fountain and trees. The third one was park No.3, the park with modern environment and spaces, and included a fountain that moved according to music and lighting. The fourth park was park No.4, the park with combination of four elements: water, fire, earth, wind, the selected space was fountains squirting water from the ground up. 80 participant (55 males and 25 females) aged from 20-60 years participated in this experiment. Each person filled the questionnaire in the park he/she was in. Five-point semantic differential scale was considered to determine the relation between space details and adjectives (kansei words). Received data were analyzed by multivariate statistical technique (factor analysis using SPSS statics). Finally the results of this analysis are criteria as inspiration which can be used in future space designing for creating pleasant feeling in users. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=environmental%20design" title="environmental design">environmental design</a>, <a href="https://publications.waset.org/abstracts/search?q=differential%20semantics" title=" differential semantics"> differential semantics</a>, <a href="https://publications.waset.org/abstracts/search?q=Kansei%20engineering" title=" Kansei engineering"> Kansei engineering</a>, <a href="https://publications.waset.org/abstracts/search?q=subjective%20preferences" title=" subjective preferences"> subjective preferences</a>, <a href="https://publications.waset.org/abstracts/search?q=space" title=" space"> space</a> </p> <a href="https://publications.waset.org/abstracts/7900/semantic-differential-technique-as-a-kansei-engineering-tool-to-enquire-public-space-design-requirements-the-case-of-parks-in-tehran" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/7900.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">407</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">11</span> The Engineering Properties of Jordanian Marble</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mousa%20Bani%20Baker">Mousa Bani Baker</a>, <a href="https://publications.waset.org/abstracts/search?q=Raed%20Abendeh"> Raed Abendeh</a>, <a href="https://publications.waset.org/abstracts/search?q=Zaidoon%20Abu%20Salem"> Zaidoon Abu Salem</a>, <a href="https://publications.waset.org/abstracts/search?q=Hesham%20Ahmad"> Hesham Ahmad</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This research paper was commissioned to discuss the Jordanian marble, which is a non-foliated metamorphic rock composed of recrystallized carbonate minerals, most commonly calcite or dolomite. Geologists use the term "marble" to refer to metamorphosed limestone; however, stonemasons use the term more broadly to encompass unmetamorphised limestone. Marble is commonly used for sculpture and as a building material. The marble has many uses; one of them is using the white marble that has been prized for its use in sculptures since classical times. This preference has to do with its softness, relative isotropy and homogeneity, and a relative resistance to shattering. Another use of it is the construction marble which is “a stone which is composed of calcite, dolomite or serpentine which is capable of taking a polish” Marble Institute of America. This report focuses most about the marble in Jordan and its properties: rock definition, physical properties, the marble occurrences in Jordan, types of Jordanian marble and their prices and test done on this marble. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=marble" title="marble">marble</a>, <a href="https://publications.waset.org/abstracts/search?q=metamorphic" title=" metamorphic"> metamorphic</a>, <a href="https://publications.waset.org/abstracts/search?q=non-foliated" title=" non-foliated"> non-foliated</a>, <a href="https://publications.waset.org/abstracts/search?q=compressive%20strength" title=" compressive strength"> compressive strength</a>, <a href="https://publications.waset.org/abstracts/search?q=recrystallized" title=" recrystallized"> recrystallized</a>, <a href="https://publications.waset.org/abstracts/search?q=Moh%E2%80%99s%20hardness" title=" Moh’s hardness"> Moh’s hardness</a>, <a href="https://publications.waset.org/abstracts/search?q=abrasion" title=" abrasion"> abrasion</a>, <a href="https://publications.waset.org/abstracts/search?q=absorption" title=" absorption"> absorption</a>, <a href="https://publications.waset.org/abstracts/search?q=modulus%20of%20rupture" title=" modulus of rupture"> modulus of rupture</a>, <a href="https://publications.waset.org/abstracts/search?q=porosity" title=" porosity"> porosity</a> </p> <a href="https://publications.waset.org/abstracts/30419/the-engineering-properties-of-jordanian-marble" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/30419.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">373</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">10</span> Ecosystems: An Analysis of Generation Z News Consumption, Its Impact on Evolving Concepts and Applications in Journalism</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bethany%20Wood">Bethany Wood</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The world pandemic led to a change in the way social media was used by audiences, with young people spending more hours on the platform due to lockdown. Reports by Ofcom have demonstrated that the internet is the second most popular platform for accessing news after television in the UK with social media and the internet ranked as the most popular platform to access news for those aged between 16-24. These statistics are unsurprising considering that at the time of writing, 98 percent of Generation Z (Gen Z) owned a smartphone and the subsequent ease and accessibility of social media. Technology is constantly developing and with this, its importance is becoming more prevalent with each generation: the Baby Boomers (1946-1964) consider it something useful whereas millennials (1981-1997) believe it a necessity for day to day living. Gen Z, otherwise known as the digital native, have grown up with this technology at their fingertips and social media is a norm. It helps form their identity, their affiliations and opens gateways for them to engage with news in a new way. It is a common misconception that Gen Z do not consume news, they are simply doing so in a different way to their predecessors. Using a sample of 800 18-20 year olds whilst utilising Generational theory, Actor Network Theory and the Social Shaping of Technology, this research provides a critical analyse regarding how Gen Z’s news consumption and engagement habits are developing along with technology to sculpture the future format of news and its distribution. From that perspective, allied with the empirical approach, it is possible to provide research orientated advice for the industry and even help to redefine traditional concepts of journalism. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=journalism" title="journalism">journalism</a>, <a href="https://publications.waset.org/abstracts/search?q=generation%20z" title=" generation z"> generation z</a>, <a href="https://publications.waset.org/abstracts/search?q=digital" title=" digital"> digital</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20media" title=" social media"> social media</a> </p> <a href="https://publications.waset.org/abstracts/170320/ecosystems-an-analysis-of-generation-z-news-consumption-its-impact-on-evolving-concepts-and-applications-in-journalism" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/170320.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">9</span> String as a Design Element: The Work of Students for International Architecture Biennale, Antalya and Lohberg Coal Mine, Germany</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ay%C5%9Fe%20Duygu%20Ka%C3%A7ar">Ayşe Duygu Kaçar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Industrial regions and buildings that have stopped their primary functions are in the interest of the discipline of architecture in the last decades. The renewal of these spaces of production for different functions is a common aspect for contemporary world countries. Totally different functions can be added to the existing as well, which can help improving the social, cultural and aesthetic character of these beings and sustaining their uniqueness. Therefore, these sites linking the past and future can be used as museums, exhibition centers, art ateliers, city parks, recreational centers, botanic gardens, sculpture parks, theatres, etc. in order to continue their place in the collective memory of the cities. The present paper depicts a way of shedding light on the Cotton Textile Industry (İplik ve Dokuma Fabrikası A.Ş), a local industrial site in Antalya, the most popular tourism center of Turkey, as a part of International Architecture Biennale, 2011 and on Lohberg coal mine, a local industrial site in the Ruhr region of Germany. As a transparent, fragile, temporary and economical material, the string was used as a design element in both experiential architecture works with architecture students and the outcomes will be discussed and presented through the theme 'rejecting / reversing architecture'. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=industrial%20sites" title="industrial sites">industrial sites</a>, <a href="https://publications.waset.org/abstracts/search?q=the%20Cotton%20Textile%20Industry%20Antalya" title=" the Cotton Textile Industry Antalya"> the Cotton Textile Industry Antalya</a>, <a href="https://publications.waset.org/abstracts/search?q=Lohberg%20coal%20mine" title=" Lohberg coal mine"> Lohberg coal mine</a>, <a href="https://publications.waset.org/abstracts/search?q=architectural%20design" title=" architectural design"> architectural design</a>, <a href="https://publications.waset.org/abstracts/search?q=identity" title=" identity"> identity</a> </p> <a href="https://publications.waset.org/abstracts/70311/string-as-a-design-element-the-work-of-students-for-international-architecture-biennale-antalya-and-lohberg-coal-mine-germany" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/70311.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">309</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">8</span> Exploration of Two Selected Sculptural Forms in the Department of Fine and Applied Arts, Federal Capital Territory College of Education Zuba-Abuja, Nigeria as Motifs for Wax Print Pattern and Design</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Adeoti%20Adebowale">Adeoti Adebowale</a>, <a href="https://publications.waset.org/abstracts/search?q=Abduljaleel"> Abduljaleel</a>, <a href="https://publications.waset.org/abstracts/search?q=Ejiogu%20Fidelis%20Onyekwo"> Ejiogu Fidelis Onyekwo</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Form and image development are fundamental to creative expression in visual arts. The form is an element that distinguishes the difference between two-dimension and three-dimension among the branches of visual arts. Particularly, the sculpture is a three-dimensional form, while the textile design is a two-dimensional form of its visual appearance. The visual expression of each of them is embedded in the creative practice of the artist, which is easily understood and interpreted by the viewer. In this research, an attempt is made to explore and analyse sculptural forms adopted as a motif for wax print in textile design, aiming at breeding yet another pattern and motif suitable for various design uses. For instance, the dynamics of sculptural form adaptation into other areas of creativity, such as architecture, pictorial arts and pottery, as well as automobile bodies, is a discernible image everywhere. The research is studio exploratory, while a camera and descriptive analysis were used to process the data. Two sculptural forms were adopted from the Department of Fine and Applied Arts, Federal Capital Territory College of Education Zuba-Abuja, in this study due to the uniqueness of their technique of execution. The findings resulted in ten (10) paper designs showing the dexterity of studio practice in the development of design for various fashion and textile uses. However, the paper concludes that sculptural form is a source of inspiration for generating design concepts for a textile designer. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=exploration" title="exploration">exploration</a>, <a href="https://publications.waset.org/abstracts/search?q=design" title=" design"> design</a>, <a href="https://publications.waset.org/abstracts/search?q=motifs" title=" motifs"> motifs</a>, <a href="https://publications.waset.org/abstracts/search?q=sculptural%20forms" title=" sculptural forms"> sculptural forms</a>, <a href="https://publications.waset.org/abstracts/search?q=wax%20print" title=" wax print"> wax print</a> </p> <a href="https://publications.waset.org/abstracts/161812/exploration-of-two-selected-sculptural-forms-in-the-department-of-fine-and-applied-arts-federal-capital-territory-college-of-education-zuba-abuja-nigeria-as-motifs-for-wax-print-pattern-and-design" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/161812.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">70</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">7</span> Implementing 3D Printing for 3D Digital Modeling in the Classroom</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Saritdikhun%20Somasa">Saritdikhun Somasa</a> </p> <p class="card-text"><strong>Abstract:</strong></p> 3D printing fabrication has empowered many artists in many fields. Artists who work in stop motion, 3D modeling, toy design, product design, sculpture, and fine arts become one-stop shop operations–where they can design, prototype, and distribute their designs for commercial or fine art purposes. The author has developed a digital sculpting course that fosters digital software, peripheral hardware, and 3D printing with traditional sculpting concept techniques to address the complexities of this multifaceted process, allowing the students to produce complex 3d-printed work. The author will detail the preparation and planning for pre- to post-process 3D printing elements, including software, materials, space, equipment, tools, and schedule consideration for small to medium figurine design statues in a semester-long class. In addition, the author provides insight into teaching challenges in the non-studio space that requires students to work intensively on post-printed models to assemble parts, finish, and refine the 3D printed surface. Even though this paper focuses on the 3D printing processes and techniques for small to medium design statue projects for the Digital Media program, the author hopes the paper will benefit other fields of study such as craft practices, product design, and fine-arts programs. Other schools that might implement 3D printing and fabrication in their programs will find helpful information in this paper, such as a teaching plan, choices of equipment and materials, adaptation for non-studio spaces, and putting together a complete and well-resolved project for students. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=3D%20digital%20modeling" title="3D digital modeling">3D digital modeling</a>, <a href="https://publications.waset.org/abstracts/search?q=3D%20digital%20sculpting" title=" 3D digital sculpting"> 3D digital sculpting</a>, <a href="https://publications.waset.org/abstracts/search?q=3D%20modeling" title=" 3D modeling"> 3D modeling</a>, <a href="https://publications.waset.org/abstracts/search?q=3D%20printing" title=" 3D printing"> 3D printing</a>, <a href="https://publications.waset.org/abstracts/search?q=3D%20digital%20fabrication" title=" 3D digital fabrication"> 3D digital fabrication</a> </p> <a href="https://publications.waset.org/abstracts/153758/implementing-3d-printing-for-3d-digital-modeling-in-the-classroom" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/153758.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">103</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">6</span> A Trail of Decoding a Classical Riddle: An Analysis of Russian Military Strategy</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Karin%20Meghe%C8%99an">Karin Megheșan</a>, <a href="https://publications.waset.org/abstracts/search?q=Alexandra%20Popescu"> Alexandra Popescu</a>, <a href="https://publications.waset.org/abstracts/search?q=Teodora%20Dobre"> Teodora Dobre</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the past few years, the Russian Federation has become a central point on the security agenda of the most important international actors, due to its reloaded aggressiveness of foreign policy. Vladimir Putin, the actual president of the Russian Federation, has proven that Russia can and has the willingness to become the powerful actor that used to be during the Cold War. Russia’s new behavior on the international scene showed that Russia has not only expansionist (where expansionist is not only in terms of territory but also of ideology) intentions, but also the necessary resources, to build an empire that may have the power to counterbalance the influence of the United States and stop the expansion of the North-Atlantic Treaty Organization in an equation understood of multipolar Russian view. But in order to do this, there is necessary to follow a well-established plan or policy. Thus, the aim of the paper is to discuss how has the foreign policy of the Russian Federation evolved under the influence of the military and security strategies of the Russian nation, to briefly examine some of the factors that sculpture Russian foreign policy and behavior, in order to reshape a Russian (Soviet) profile so far considered antiquated. Our approach is an argument in favor of the analyses of the recent evolutions embedded in the course of history. In this context, the paper will include analytical thoughts about the Russian foreign policy and the latest strategic documents (security strategy and military doctrine) adopted by the Putin administration, with the purpose to highlight the main direction of action followed by all these documents together. The paper concludes that the military component is to be found in all these strategic documents, as well as at the core of Russian national interest, aspect that proves that Russia is still the adept of the traditional realist paradigm, reshaped in a Russian theory of the multipolar world. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=hybrid%20warfare" title="hybrid warfare">hybrid warfare</a>, <a href="https://publications.waset.org/abstracts/search?q=military%20component" title=" military component"> military component</a>, <a href="https://publications.waset.org/abstracts/search?q=military%20doctrine" title=" military doctrine"> military doctrine</a>, <a href="https://publications.waset.org/abstracts/search?q=Russian%20foreign%20policy" title=" Russian foreign policy"> Russian foreign policy</a>, <a href="https://publications.waset.org/abstracts/search?q=security%20strategy" title=" security strategy"> security strategy</a> </p> <a href="https://publications.waset.org/abstracts/70719/a-trail-of-decoding-a-classical-riddle-an-analysis-of-russian-military-strategy" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/70719.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">303</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">5</span> Ecological Art in the Nuclear Anthropocene</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Eve-Andree%20Laramee">Eve-Andree Laramee</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The aesthetics and ethics of the Nuclear Anthropocene are explored through artists responses to the impact of radioactive materials on ecological systems, global issues, energy policies and ourselves. This presentation tracks and reveals the invisible traces of the nuclear weapons complex and the nuclear energy industry, in relation to environmental justice. Radioactive pollution transgresses international borders, boundaries between land and water, contaminating ecological systems. Radioactive waste is never disposed of; it is dispositioned, placed out of sight and out of mind. These materials leave behind an invisible toxic legacy lasting millions of years. As we are learning post-Fukushima, when climate change occurs and vulnerability spectrums shift, nuclear sites and the life forms surrounding them are at increased risk. By visualizing this contamination through art installations, videos, and social-sculpture interventions, information is shared with the public, raising awareness, and activating community participation in remediation and nonproliferation efforts. The emerging Ecological Art genre proposes paradigms sustainable with the life forms and resources of our planet. It is comprised of artists, scientists, philosophers and activists devoted to these. EcoArt is distinguished by a focus on systems and interrelationships within our environment: the ecological, geographic, political, biological and cultural. This presentation will cover artworks addressing the recent Fukushima meltdowns, weapons proliferation, climate change, radioactive waste disposal and environmental justice. Possibilities for art-and-science collaborations will be discussed as projects that sharpen our ethics and politics in our behaviors and social interactions. The presentation will consist of a PowerPoint talk (paper presentation) accompanied by images and video clips. <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=ecology" title=" ecology"> ecology</a>, <a href="https://publications.waset.org/abstracts/search?q=environment" title=" environment"> environment</a>, <a href="https://publications.waset.org/abstracts/search?q=anthropocene" title=" anthropocene"> anthropocene</a>, <a href="https://publications.waset.org/abstracts/search?q=nuclear" title=" nuclear"> nuclear</a> </p> <a href="https://publications.waset.org/abstracts/41228/ecological-art-in-the-nuclear-anthropocene" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/41228.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">229</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">4</span> Indian Art Education and Career Opportunities: A Critical Analysis on Commercial Art</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Pooja%20Jain">Pooja Jain</a> </p> <p class="card-text"><strong>Abstract:</strong></p> <p class="Abstract" style="text-indent:10.2pt"><span lang="EN-US">Art education is often ignored in syllabus of developing countries like India and in educational planning for development but now days Indian A</span><span lang="EN-US">rt </span><span lang="EN-US">with a global recognition </span><span lang="EN-US">is becoming an integral part of the education at all levels.</span><span lang="EN-US"> </span><span lang="EN-US">The term art, widely used in all parts of the modern world, carried varied significance in India as its meaning was continuously being extended, covering the many varieties o</span><span lang="EN-US">f creative expression </span><span lang="EN-US">such as painting, sculpture, commercial art, design, poetry, music, dance, and architecture. Over the last 100 years Indian artists of all forms have evolved a wide variety of expressive styles. With the recommendations and initiatives by Government of India, Art Education has subsequently gained pace at the school level as a mandatory subject for all making a path way for students with a creative bend of mind. This paper investigates curriculum in various schools of the country at secondary and senior secondary levels along with some eminent institutions running the program. Findings depicted the role of art education and justified its importance primarily with commercial art being perceived to be essential for students learning skills for economic gain in their career ahead. With so many art colleges spread across India, emerging artists and designers are being trained and are creating art of infinite variety and style and have opened up many career avenues.</span><span lang="EN-US"> </span><span lang="EN-US">Commercial Art being a plethora of artistic expressions has </span><span lang="EN-US">confidently come of age</span><span lang="EN-US"> </span><span lang="EN-US">wherein</span><span lang="EN-US"> a creative perception is mixed with an introspective imagination to bring out multi faceted career options with a significant future enveloped in art. Visual arts in education thus is an expanding field of result assured research.</span><span lang="EN-US"> </span><span lang="EN-US"><o:p></o:p></span> <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=modern%20art" title="modern art">modern art</a>, <a href="https://publications.waset.org/abstracts/search?q=commercial%20art" title=" commercial art"> commercial art</a>, <a href="https://publications.waset.org/abstracts/search?q=introspective%20imagination" title=" introspective imagination"> introspective imagination</a>, <a href="https://publications.waset.org/abstracts/search?q=career" title=" career"> career</a> </p> <a href="https://publications.waset.org/abstracts/68133/indian-art-education-and-career-opportunities-a-critical-analysis-on-commercial-art" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/68133.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">189</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">3</span> The Psychological Impact of Memorials on People: The Case of Northern-Cyprus</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ma%27in%20Abushaikha">Ma'in Abushaikha</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Memorials are usually a landmark could be either an object, sculpture or a statue. They are built for a specific group or person who has died with historical contribution, or it could refer to an important hub, event or a specific culture, therefore to keep past events alive in the common memory through this kind of physical representation in public areas, or even to satisfy the desire to honour something either it is a person who suffered or died during a conflict or just to honour a group of people or even a whole society in a specific character they used to possess during a specific period of time. The aim behind the research is to look more deeply about the importance of memorials placement and environment for more successful outcomes towards people's psychology, therefore, behavior, manners and characteristics, knowing that in the main, they are usually set for function able purposes so people could be involved meaningfully therefore psychologically more than aesthetically. What contribution either positive or negative does memorialization through its physical/urban elements has towards people? Is it towards locals social reconstruction over time including either their understanding to the current conflicts or is it toward their general behavior, manners and characteristics in terms of psychology? And how important Memorial's placement is for the observer? Moreover, how does that either reduces or increases its value, attractiveness, and its effectiveness? This paper considers taking north Cyprus memorials as the main case study, is good enough as a choice to support the research hypothesis where a comparison between deferent memorials is going to be done as the main approach in trying to address the mentioned questions, by that, the research requires field survey in terms of interviewing both dwellers and general observers as well as library survey by viewing similar studies. As a significant result, this research is about to come up assesses how important memorials placements are, in order to apply its impact to the observers, whereas the most successful placed ones have its more effectiveness on observers psychology by time by introducing several mental reflects by this kind of physical representation. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=memorials" title="memorials">memorials</a>, <a href="https://publications.waset.org/abstracts/search?q=placement" title=" placement"> placement</a>, <a href="https://publications.waset.org/abstracts/search?q=environment" title=" environment"> environment</a>, <a href="https://publications.waset.org/abstracts/search?q=impact" title=" impact"> impact</a>, <a href="https://publications.waset.org/abstracts/search?q=psychology" title=" psychology"> psychology</a>, <a href="https://publications.waset.org/abstracts/search?q=characteristics" title=" characteristics"> characteristics</a>, <a href="https://publications.waset.org/abstracts/search?q=manners" title=" manners"> manners</a>, <a href="https://publications.waset.org/abstracts/search?q=behavior" title=" behavior"> behavior</a> </p> <a href="https://publications.waset.org/abstracts/45900/the-psychological-impact-of-memorials-on-people-the-case-of-northern-cyprus" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/45900.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">264</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">2</span> Electroforming of 3D Digital Light Processing Printed Sculptures Used as a Low Cost Option for Microcasting</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Cecile%20Meier">Cecile Meier</a>, <a href="https://publications.waset.org/abstracts/search?q=Drago%20Diaz%20Aleman"> Drago Diaz Aleman</a>, <a href="https://publications.waset.org/abstracts/search?q=Itahisa%20Perez%20Conesa"> Itahisa Perez Conesa</a>, <a href="https://publications.waset.org/abstracts/search?q=Jose%20Luis%20Saorin%20Perez"> Jose Luis Saorin Perez</a>, <a href="https://publications.waset.org/abstracts/search?q=Jorge%20De%20La%20Torre%20Cantero"> Jorge De La Torre Cantero</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In this work, two ways of creating small-sized metal sculptures are proposed: the first by means of microcasting and the second by electroforming from models printed in 3D using an FDM (Fused Deposition Modeling‎) printer or using a DLP (Digital Light Processing) printer. It is viable to replace the wax in the processes of the artistic foundry with 3D printed objects. In this technique, the digital models are manufactured with resin using a low-cost 3D FDM printer in polylactic acid (PLA). This material is used, because its properties make it a viable substitute to wax, within the processes of artistic casting with the technique of lost wax through Ceramic Shell casting. This technique consists of covering a sculpture of wax or in this case PLA with several layers of thermoresistant material. This material is heated to melt the PLA, obtaining an empty mold that is later filled with the molten metal. It is verified that the PLA models reduce the cost and time compared with the hand modeling of the wax. In addition, one can manufacture parts with 3D printing that are not possible to create with manual techniques. However, the sculptures created with this technique have a size limit. The problem is that when printed pieces with PLA are very small, they lose detail, and the laminar texture hides the shape of the piece. DLP type printer allows obtaining more detailed and smaller pieces than the FDM. Such small models are quite difficult and complex to melt using the lost wax technique of Ceramic Shell casting. But, as an alternative, there are microcasting and electroforming, which are specialized in creating small metal pieces such as jewelry ones. The microcasting is a variant of the lost wax that consists of introducing the model in a cylinder in which the refractory material is also poured. The molds are heated in an oven to melt the model and cook them. Finally, the metal is poured into the still hot cylinders that rotate in a machine at high speed to properly distribute all the metal. Because microcasting requires expensive material and machinery to melt a piece of metal, electroforming is an alternative for this process. The electroforming uses models in different materials; for this study, micro-sculptures printed in 3D are used. These are subjected to an electroforming bath that covers the pieces with a very thin layer of metal. This work will investigate the recommended size to use 3D printers, both with PLA and resin and first tests are being done to validate use the electroforming process of microsculptures, which are printed in resin using a DLP printer. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=sculptures" title="sculptures">sculptures</a>, <a href="https://publications.waset.org/abstracts/search?q=DLP%203D%20printer" title=" DLP 3D printer"> DLP 3D printer</a>, <a href="https://publications.waset.org/abstracts/search?q=microcasting" title=" microcasting"> microcasting</a>, <a href="https://publications.waset.org/abstracts/search?q=electroforming" title=" electroforming"> electroforming</a>, <a href="https://publications.waset.org/abstracts/search?q=fused%20deposition%20modeling" title="fused deposition modeling">fused deposition modeling</a> </p> <a href="https://publications.waset.org/abstracts/102618/electroforming-of-3d-digital-light-processing-printed-sculptures-used-as-a-low-cost-option-for-microcasting" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/102618.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">135</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">1</span> Conservation of Ibis Statue Made of Composite Materials Dating to 3RD Intermediate Period - Late Period</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Badawi%20Mahmoud">Badawi Mahmoud</a>, <a href="https://publications.waset.org/abstracts/search?q=Eid%20Mohamed"> Eid Mohamed</a>, <a href="https://publications.waset.org/abstracts/search?q=Salih%20Hytham"> Salih Hytham</a>, <a href="https://publications.waset.org/abstracts/search?q=Tahoun%20Mamdouh"> Tahoun Mamdouh</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Cultural properties made of types of materials; we can classify them broadly into three categories. There are organic cultural properties which have their origin in the animal and plant kingdoms. There are the inorganic cultural properties made of metal or stone. Then there are those made of both organic and inorganic materials such as metal with wood. Most cultural properties are made from several materials rather than from one single material. Cultural properties reveal a lot of information about the past and often have great artistic value. It is important to extend the life of cultural properties and preserve themif possible, that is intended to preserve them for future generations. The study of metallic relics usually includes examining the techniques used to make them and the extent to which they have corroded. The conservation science of archaeological artifacts demands an accurate grasp of the interior of the article, which cannot be seen. This is essential to elucidate the method of manufacture and provides information that is important for cleaning, restoration, and other processes of conservation. Conservation treatment does not ensure the prevention of further degradation of the archaeological artifact. Instead, it is an attempt to inhibit further degradation as much as possible. Ancient metallic artifacts are made of many materials. Some are made of a single metal, such as iron, copper, or bronze. There are also composite relics made of several metals. Almost all metals (except gold) corrode while they rest underground. Corrosion is caused by the interaction of oxygen, water, and various ions. Chloride ions play a major role in the advance of corrosion. Excavated metallic relics are usually scientifically examined as to their structure and materials and treated for preservation before being displayed for exhibition or stored in a storehouse. Bird statue hermit body is made of wood and legs and beak bronze, the object broken separated to three parts. This statue came to Grand Egyptian Museum – Conservation Centre (GEM-CC) Inorganic Lab. Statuette representing the god djehoty shaped of the bird (ibis) sculpture made of bronze and wood the body of statues made from wood and bronze from head and leg and founded remains of black resin maybe it found with mummy, the base installed by wooden statue of the ancient writings there dating, the archaeological unit decided the dating is 3rd intermediate period - late period. This study aims to do conservation process for this statue, attempt to inhibit further degradation as much as possible and fill fractures and cracks in the wooden part. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=inorganic%20materials" title="inorganic materials">inorganic materials</a>, <a href="https://publications.waset.org/abstracts/search?q=metal" title=" metal"> metal</a>, <a href="https://publications.waset.org/abstracts/search?q=wood" title=" wood"> wood</a>, <a href="https://publications.waset.org/abstracts/search?q=corrosion" title=" corrosion"> corrosion</a>, <a href="https://publications.waset.org/abstracts/search?q=ibis" title=" ibis"> ibis</a> </p> <a href="https://publications.waset.org/abstracts/152355/conservation-of-ibis-statue-made-of-composite-materials-dating-to-3rd-intermediate-period-late-period" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/152355.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">254</span> </span> </div> </div> </div> </main> <footer> <div id="infolinks" class="pt-3 pb-2"> <div class="container"> <div style="background-color:#f5f5f5;" class="p-3"> <div class="row"> <div class="col-md-2"> <ul class="list-unstyled"> About <li><a href="https://waset.org/page/support">About Us</a></li> <li><a href="https://waset.org/page/support#legal-information">Legal</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/WASET-16th-foundational-anniversary.pdf">WASET celebrates its 16th foundational anniversary</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Account <li><a href="https://waset.org/profile">My Account</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Explore <li><a href="https://waset.org/disciplines">Disciplines</a></li> <li><a href="https://waset.org/conferences">Conferences</a></li> <li><a href="https://waset.org/conference-programs">Conference Program</a></li> <li><a href="https://waset.org/committees">Committees</a></li> <li><a href="https://publications.waset.org">Publications</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Research <li><a href="https://publications.waset.org/abstracts">Abstracts</a></li> <li><a href="https://publications.waset.org">Periodicals</a></li> <li><a href="https://publications.waset.org/archive">Archive</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Open Science <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Open-Science-Philosophy.pdf">Open Science Philosophy</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Open-Science-Award.pdf">Open Science Award</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Open-Society-Open-Science-and-Open-Innovation.pdf">Open Innovation</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Postdoctoral-Fellowship-Award.pdf">Postdoctoral Fellowship Award</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Scholarly-Research-Review.pdf">Scholarly Research Review</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Support <li><a href="https://waset.org/page/support">Support</a></li> <li><a href="https://waset.org/profile/messages/create">Contact Us</a></li> <li><a href="https://waset.org/profile/messages/create">Report Abuse</a></li> </ul> </div> </div> </div> </div> </div> <div class="container text-center"> <hr style="margin-top:0;margin-bottom:.3rem;"> <a href="https://creativecommons.org/licenses/by/4.0/" target="_blank" class="text-muted small">Creative Commons Attribution 4.0 International License</a> <div id="copy" class="mt-2">© 2024 World Academy of Science, Engineering and Technology</div> </div> </footer> <a href="javascript:" id="return-to-top"><i class="fas fa-arrow-up"></i></a> <div class="modal" id="modal-template"> <div class="modal-dialog"> <div class="modal-content"> <div class="row m-0 mt-1"> <div class="col-md-12"> <button type="button" class="close" data-dismiss="modal" aria-label="Close"><span aria-hidden="true">×</span></button> </div> </div> <div class="modal-body"></div> </div> </div> </div> <script src="https://cdn.waset.org/static/plugins/jquery-3.3.1.min.js"></script> <script src="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/js/bootstrap.bundle.min.js"></script> <script src="https://cdn.waset.org/static/js/site.js?v=150220211556"></script> <script> jQuery(document).ready(function() { /*jQuery.get("https://publications.waset.org/xhr/user-menu", function (response) { jQuery('#mainNavMenu').append(response); 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