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artist</title> <meta name="description" content="Search results for: local artist"> <meta name="keywords" content="local 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="local 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> 5500</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: local artist</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5500</span> Enhancing the Work of Art through Fashion Attire</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=A.%20N.%20Roslen">A. N. Roslen</a>, <a href="https://publications.waset.org/abstracts/search?q=S.%20A.%20Syed-Sahil"> S. A. Syed-Sahil</a>, <a href="https://publications.waset.org/abstracts/search?q=A.%20Musavir"> A. Musavir</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In Malaysia, there are only few fashion designers who are inspired by the work of artists when creating their collections. The researchers confirmed this statement by interviewing fashion experts in Malaysia. The objectives of this study are to: 1. Investigate the acceptance of fashion inspired by the work of art among consumers. 2. Encourage more designers to use work of art as their inspirations. 3. Promote Malaysian Artists through fashion. Thus, the researchers interviewed Malaysian fashion designers, image consultants, and one famous Malaysian Artist (Awang Damit). All of them had agreed that the fashion inspired by the work of art in Malaysia has a long way to go. Therefore, the researchers’ aim is to attract more fashion designers to use the work of local artists in their creations. The researchers had used interview, survey and experimentation as methods of this study. In the experimentation procedure, paintings of local artist, Awang Damit was used as a source of inspiration in creating a design Line. The result of this study had shown that fashion inspired by work of art is acknowledged and accepted by the designers and consumers. <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=fashion" title=" fashion"> fashion</a>, <a href="https://publications.waset.org/abstracts/search?q=inspiration" title=" inspiration"> inspiration</a>, <a href="https://publications.waset.org/abstracts/search?q=local%20artist" title=" local artist "> local artist </a> </p> <a href="https://publications.waset.org/abstracts/24855/enhancing-the-work-of-art-through-fashion-attire" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/24855.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">459</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">5499</span> Tom Stoppard: The Amorality of the Artist</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Majeed%20Mohammed%20Midhin">Majeed Mohammed Midhin</a>, <a href="https://publications.waset.org/abstracts/search?q=Clare%20Finburgh"> Clare Finburgh</a> </p> <p class="card-text"><strong>Abstract:</strong></p> To maintain a healthy balanced loyalty between art and politics posits a debatable issue. The artist is always on the look out for the potential tension between those two realms. Therefore, one of the most painful dilemmas the artist finds is how to function in a society without sacrificing the aesthetic values of his/her work. In other words, the life-long awareness of failure which derives from the concept of the artist as caught between unflattering social realities and the need to invent genuine art forms becomes a fertilizing soil for the artists to dig deep into its origin. Thus, within the framework of this dilemma, the question of the responsibility of the artist and the relationship of the art to politics will be illuminating. The present paper tackles the idea of the amorality of the artist in selected plays by Tom Stoppard. However, Stoppard’s awareness of his situation as a refugee has led him to keep at a distance from politics. He tried hard to avoid any intervention into the realms of political debate, especially in his earliest work. On the one hand, it is not meant that he did not interest in politics as such, but rather he preferred to question it than to create a fixed ideological position. On the other hand, Stoppard’s refusal to intervene in politics is ascribed to his feeling of gratitude to Britain where he settled. As a result, Stoppard has frequently been criticized for a lack of political engagement and also for not leaning too much for the left when he does engage. His reaction to these public criticisms finds expression in his self-conscious statements which defensively stressed the artifice of his work. He, like Oscar Wilde thinks that the responsibility of the artist is devoted to the realm of his/her art. Consequently, his consciousness for the role of the artist is truly reflected in his two plays, Artist Descending a Staircase(1972) and Travesties(1974). <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=amorality" title="amorality">amorality</a>, <a href="https://publications.waset.org/abstracts/search?q=dilemma" title=" dilemma"> dilemma</a>, <a href="https://publications.waset.org/abstracts/search?q=aesthetic" title=" aesthetic"> aesthetic</a>, <a href="https://publications.waset.org/abstracts/search?q=responsibility%20of%20the%20artist" title=" responsibility of the artist"> responsibility of the artist</a>, <a href="https://publications.waset.org/abstracts/search?q=political%20theatre" title=" political theatre"> political theatre</a> </p> <a href="https://publications.waset.org/abstracts/29772/tom-stoppard-the-amorality-of-the-artist" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/29772.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">397</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">5498</span> Deconstruction of the Term 'Shaman' in the Metaphorical Pair 'Artist as a Shaman'</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ilona%20Ivova%20Anachkova">Ilona Ivova Anachkova</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The analogy between the artist and the shaman as both being practitioners that more easily recognize and explore spiritual matters, and thus contribute to the society in a unique way has been implied in both Modernity and Postmodernity. The Romantic conception of the shaman as a great artist who helps common men see and understand messages of a higher consciousness has been employed throughout Modernity and is active even now. This paper deconstructs the term ‘shaman’ in the metaphorical analogy ‘artist – shaman’ that was developed more fully in Modernity in different artistic and scientific discourses. The shaman is a figure that to a certain extent adequately reflects the late modern and postmodern holistic views on the world. Such views aim at distancing from traditional religious and overly rationalistic discourses. However, the term ‘shaman’ can be well substituted by other concepts such as the priest, for example. The concept ‘shaman’ is based on modern ethnographic and historical investigations. Its later philosophical, psychological and artistic appropriations designate the role of the artist as a spiritual and cultural leader. However, the artist and the shaman are not fully interchangeable terms. The figure of the shaman in ‘primitive’ societies has performed many social functions that are now delegated to different institutions and positions. The shaman incorporates the functions of a judge, a healer. He is a link to divine entities. He is the creative, aspiring human being that has heightened sensitivity to the world in both its spiritual and material aspects. Building the metaphorical analogy between the shaman and the artist comes in many ways. Both are seen as healers of the society, having propensity towards connection to spiritual entities, or being more inclined to creativity than others. The ‘shaman’ however is a fashionable word for a spiritual person used perhaps because of the anti-traditionalist religious modern and postmodern views. The figure of the priest is associated with a too rational, theoretical and detached attitude towards spiritual matters, while the practices of the shaman and the artist are considered engaged with spirituality on a deeper existential level. The term ‘shaman’ however does not have priority of other words/figures that can explore and deploy spiritual aspects of reality. Having substituted the term ‘shaman’ in the pair ‘artist as a shaman’ with ‘the priest’ or literally ‘anybody,' we witness destruction of spiritual hierarchies and come to the view that everybody is responsible for their own spiritual and creative evolution. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=artist%20as%20a%20shaman" title="artist as a shaman">artist as a shaman</a>, <a href="https://publications.waset.org/abstracts/search?q=creativity" title=" creativity"> creativity</a>, <a href="https://publications.waset.org/abstracts/search?q=extended%20theory%20of%20art" title=" extended theory of art"> extended theory of art</a>, <a href="https://publications.waset.org/abstracts/search?q=functions%20of%20art" title=" functions of art"> functions of art</a>, <a href="https://publications.waset.org/abstracts/search?q=priest%20as%20an%20artist" title=" priest as an artist"> priest as an artist</a> </p> <a href="https://publications.waset.org/abstracts/77054/deconstruction-of-the-term-shaman-in-the-metaphorical-pair-artist-as-a-shaman" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/77054.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">5497</span> Godalisation: A Revisionist Conceptual Framework for Singapore’s Artistic Identity</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bernard%20Tan">Bernard Tan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The paper presents a conceptual framework which serves as an art model of Singapore artistic identity. Specifically, the study examines Singapore's artistic identity through the artworks of the country’s significant artists covering the period 1950s to the present. Literature review will discuss the challenges of favouring or choosing one artist over the other. Methodology provides an overview of the perspectives of local artists and surveys Singapore’s artistic histories through qualitative interviews and case studies. Analysis from qualitative data reveals that producing works of accrued visual significance for the country which captures it zeitgeist further strengthens artist’s artistic identity, and consequently, their works remembered by future generations. The paper presents a conceptual framework for Singapore’s artistic identity by categorising it into distinctive categories or Periods: Colonial Period (pre-1965); Nation Building Period (1965-1988); Globalisation Period (1989-2000); Paternal Production Period (2001-2015); and A New Era (2015-present). Godalisation, coined from God and Globalisation – by artist and art collector, Teng Jee Hum – is a direct reference to the godlike influence on Singapore by its founding Father, Mr Lee Kuan Yew, the country’s first Prime Minister who steered the city state “from Third World to First” for close to half a century, from 1965 to his passing in 2015. A detailed schema showing important factors in different art categories: key global geopolitics, key local social-politics, and significant events will be analysed in depth. Main artist groups or artist initiatives which evolved in Singapore during the different Periods from pre-1965 to the present will be categorized and discussed. Taken as a whole, all these periods collectively add up to the Godalisation Era; impacted by the social-political events and historical period of the nation, and captured through the visual representation of the country’s significant artists in their attempt at either visualizing or mythologizing the Singapore Story. The author posits a co-relation between a nation’s economic success and the value or price appreciation of the country’s artist of significance artworks. The paper posed a rhetorical question: “Which Singapore’s artist will historian of the future – and by extension, the people of the country from future generations – remember? Who will remain popular? Whilst which artists will be forgotten.” The searching question: “Who will survive, be remembered in the annals of history and, above all, how to ensure the survival of one’s nation artistic identity? The art that last will probably be determined by the future, in the future, where art historians pontificate from a later vantage point. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=artistic%20identity" title="artistic identity">artistic identity</a>, <a href="https://publications.waset.org/abstracts/search?q=art%20collection" title=" art collection"> art collection</a>, <a href="https://publications.waset.org/abstracts/search?q=godalisation" title=" godalisation"> godalisation</a>, <a href="https://publications.waset.org/abstracts/search?q=singapore" title=" singapore"> singapore</a> </p> <a href="https://publications.waset.org/abstracts/186361/godalisation-a-revisionist-conceptual-framework-for-singapores-artistic-identity" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/186361.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">37</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">5496</span> Displacement and Cultural Capital in East Harlem: Use of Community Space in Affordable Artist Housing </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jun%20Ha%20Whang">Jun Ha Whang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> As New York City weathers a swelling 'affordability crisis' marked by rapid transformation in land development and urban culture, much of the associated scholarly debate has turned to questions of the underlying mechanisms of gentrification. Though classically approached from the point of view of urban planning, increasingly these questions have been addressed with an eye to understanding the role of cultural capital in neighborhood valuation. This paper will examine the construction of an artist-specific affordable housing development in the Spanish Harlem neighborhood of Manhattan in order to identify and discuss several cultural parameters of gentrification. This study’s goal is not to argue that the development in question, named Art space PS 109, straightforwardly increases or decreases the rate of gentrification in Spanish Harlem, but rather to study dynamics present in the construction of Art space PS 109 as a case study considered against the broader landscape of gentrification in New York, particularly with respect to the impact of artist communities on housing supply. In the end, what Art space PS 109 most valuably offers us is a reference point for a comparative analysis of affordable housing strategies currently being pursued within municipal government. Our study of Art space PS 109 has allowed us to examine a microcosm of the city’s response and evaluate its overall strategy accordingly. As a base line, the city must aggressively pursue an affordability strategy specifically suited to the needs of each of its neighborhoods. It must also conduct this in such a way so as not to undermine its own efforts by rendering them susceptible to the exploitative involvement of real estate developers seeking to identify successive waves of trendy neighborhoods. Though Art space PS 109 offers an invaluable resource for the city’s legitimate aim of preserving its artist communities, with such a high inclusion rate of artists from outside of the community the project risks additional displacement, strongly suggesting the need for further study of the implications of sites of cultural capital for neighborhood planning. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=artist%20housing" title="artist housing">artist housing</a>, <a href="https://publications.waset.org/abstracts/search?q=displacement" title=" displacement"> displacement</a>, <a href="https://publications.waset.org/abstracts/search?q=east%20Harlem" title=" east Harlem"> east Harlem</a>, <a href="https://publications.waset.org/abstracts/search?q=urban%20planning" title=" urban planning"> urban planning</a> </p> <a href="https://publications.waset.org/abstracts/80029/displacement-and-cultural-capital-in-east-harlem-use-of-community-space-in-affordable-artist-housing" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/80029.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">163</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">5495</span> Positive Disruption: Towards a Definition of Artist-in-Residence Impact on Organisational Creativity</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Denise%20Bianco">Denise Bianco</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Several studies on innovation and creativity in organisations emphasise the need to expand horizons and take on alternative and unexpected views to produce something new. This paper theorises the potential impact artists can have as creative catalysts, working embedded in non-artistic organisations. It begins from an understanding that in today's ever-changing scenario, organisations are increasingly seeking to open up new creative thinking through deviant behaviours to produce innovation and that art residencies need to be critically revised in this specific context in light of their disruptive potential. On the one hand, this paper builds upon recent contributions made on workplace creativity and related concepts of deviance and disruption. Research suggests that creativity is likely to be lower in work contexts where utter conformity is a cardinal value and higher in work contexts that show some tolerance for uncertainty and deviance. On the other hand, this paper draws attention to Artist-in-Residence as a vehicle for epistemic friction between divergent and convergent thinking, which allows the creation of unparalleled ways of knowing in the dailiness of situated and contextualised social processes. In order to do so, this contribution brings together insights from the most relevant theories on organisational creativity and unconventional agile methods such as Art Thinking and direct insights from ethnographic fieldwork in the context of embedded art residencies within work organisations to propose a redefinition of Artist-in-Residence and their potential impact on organisational creativity. The result is a re-definition of embedded Artist-in-Residence in organisational settings from a more comprehensive, multi-disciplinary, and relational perspective that builds on three focal points. First the notion that organisational creativity is a dynamic and synergistic process throughout which an idea is framed by recurrent activities subjected to multiple influences. Second, the definition of embedded Artist-in-Residence as an assemblage of dynamic, productive relations and unexpected possibilities for new networks of relationality that encourage the recombination of knowledge. Third, and most importantly, the acknowledgment that embedded residencies are, at the very essence, bi-cultural knowledge contexts where creativity flourishes as the result of open-to-change processes that are highly relational, constantly negotiated, and contextualised in time and space. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=artist-in-residence" title="artist-in-residence">artist-in-residence</a>, <a href="https://publications.waset.org/abstracts/search?q=convergent%20and%20divergent%20%20thinking" title=" convergent and divergent thinking"> convergent and divergent thinking</a>, <a href="https://publications.waset.org/abstracts/search?q=creativity" title=" creativity"> creativity</a>, <a href="https://publications.waset.org/abstracts/search?q=creative%20friction" title=" creative friction"> creative friction</a>, <a href="https://publications.waset.org/abstracts/search?q=deviance%20and%20creativity" title=" deviance and creativity"> deviance and creativity</a> </p> <a href="https://publications.waset.org/abstracts/155729/positive-disruption-towards-a-definition-of-artist-in-residence-impact-on-organisational-creativity" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/155729.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">97</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">5494</span> The Art of Contemporary Arabic Calligraphy in Oman: Salman Alhajri as an Example </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Salman%20Amur%20Alhajri">Salman Amur Alhajri</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Purpose: This paper explores the art of contemporary Arabic calligraphy in Oman. It explains the aesthetic features of Arabic calligraphy as a unique icon of Islamic art. This paper also explores the profile of one Omani artist, Salman Alhajri, as an example of Omani artists who have developed unique styles in this art stream. Methodology and approach: The paper is based on a theoretical study using a descriptive and case-study approach. Omani artists are fascinated by the art forms of Arabic calligraphy, which combine both spiritual meaning and aesthetic beauty. Artist Salman Alhajri is an example of a contemporary Arabic artist who uses Arabic calligraphy as the main theme in his art. Dr. Alhajri is trying to introduce the beauty of Arabic letters from a new aesthetic point of view. He also aims to create unusual visual effects that viewers can easily interact with. Even though words and phrases appear in Alhajri’s artwork, they are not conveying direct meanings: viewers can create their own meaning or expressions from them by appreciating the compositions of the artwork. Results: Arabic writing is directly related to the identity of Omani artists and their cultural background. This paper shows how the beauty of Arabic letters comes from its indefinite possibilities in designing calligraphic expressions, even within a single word, because letters can be stretched and transformed in various ways to create different compositions. Omani artists are interested in employing new media applications in this kind of practice to find new techniques for creating artwork based on Arabic writing. It is really important for all Omani artists to practice this art style because Arabic calligraphy and its flexibility introduce infinite possibilities that involve further exploration and investigation. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Islamic%20art" title="Islamic art">Islamic art</a>, <a href="https://publications.waset.org/abstracts/search?q=contemporary%20Arabic%20calligraphy" title=" contemporary Arabic calligraphy"> contemporary Arabic calligraphy</a>, <a href="https://publications.waset.org/abstracts/search?q=new%20techniques" title=" new techniques"> new techniques</a>, <a href="https://publications.waset.org/abstracts/search?q=Omani%20artist" title=" Omani artist"> Omani artist</a> </p> <a href="https://publications.waset.org/abstracts/23092/the-art-of-contemporary-arabic-calligraphy-in-oman-salman-alhajri-as-an-example" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/23092.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">360</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">5493</span> Researching and Interpreting Art: Analyzing Whose Voice Matters</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Donna%20L.%20Roberts">Donna L. Roberts</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Beyond the fundamental question of what is (and what isn’t) art, one then moves to the question of what about art, or a specific artwork, matters. If there is an agreement that something is art, the next step is to answer the obvious, ‘So what? What does it mean?’ In answering these questions, one must decide how to focus the proverbial microscope –i.e., what level of perspective is relevant as a point of view for this analysis- the artwork itself, the artist’s intention, the viewer’s interpretation, the artwork’s reflection of the larger artistic movement, the social, political, and historical context of art? One must determine what product and what contexts are meaningful when experiencing and interpreting art. Is beauty really in the eye of the beholder? Or is it more important what the creator was trying to say than what the critic or observer heard? The fact that so many artists –from Rembrandt to Van Gogh to Picasso- include among their works at least one self-portrait seems to scream their point –I matter. But, Is a piece more impactful because of the persona behind it? Or does that persona impose limits and close one’s mind to the possibilities of interpretation? In the popular art text visual culture, Richard Howells argues against a biographical focus on the artist in the analysis of art. Similarly, abstract expressionist Mark Rothko, along with several of his contemporaries of the genre, often did not title his paintings for the express purpose of not imposing a specific meaning or interpretation on the piece. And yet, he once said, ‘The people who weep before my pictures are having the same religious experience I had when I painted them,’ thus alluding to a desire for a shared connection and revelation. This research analyzes the arguments for differing levels of interpretation and points of view when considering a work of art and/or the artist who created it. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=art%20analysis" title="art analysis">art analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=art%20interpretation" title=" art interpretation"> art interpretation</a>, <a href="https://publications.waset.org/abstracts/search?q=art%20theory" title=" art theory"> art theory</a>, <a href="https://publications.waset.org/abstracts/search?q=artistic%20perspective" title=" artistic perspective"> artistic perspective</a> </p> <a href="https://publications.waset.org/abstracts/130217/researching-and-interpreting-art-analyzing-whose-voice-matters" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/130217.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">149</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">5492</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">5491</span> Translingual English: New languages and new identities</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sender%20Dovchin">Sender Dovchin</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The recent bi/multilingual scholarship shows that the knowledge of ‘translingual English’ is understood in terms of transcultural flows of linguistic, semiotic and cultural resources, where these resources re-transform and are recontextualised to form new specific languages and perform new identities in diverse societal contexts. Drawing on linguistic ethnographic data from contemporary popular music artist in Mongolia, this paper addresses two main critical questions: (1) how new forms of specific languages are created when English becomes translingual English in local contexts; and (2) how new varieties of local identities are constructed and performed when English transforms into translingual English. The paper argues that popular music artists in post-socialist Mongolia should better be understood as active cultural producers, contrary to those dominant discourses which position artists in the periphery as passive recipients of popular culture. Positioned within the creative nature of the global digital resources and the increasing transcultural spread of linguistic and cultural modes and features, these young Mongolian popular music artists produce not only new forms of linguistic practices in the local contexts but also create varied new forms of identities of what it means to be a young Mongolian person in the modern society. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=multilingualism" title="multilingualism">multilingualism</a>, <a href="https://publications.waset.org/abstracts/search?q=translingualism" title=" translingualism"> translingualism</a>, <a href="https://publications.waset.org/abstracts/search?q=mongolia" title=" mongolia"> mongolia</a>, <a href="https://publications.waset.org/abstracts/search?q=english" title=" english"> english</a> </p> <a href="https://publications.waset.org/abstracts/173332/translingual-english-new-languages-and-new-identities" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/173332.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">62</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">5490</span> Intended and Unintended Outcomes of Partnerships at the Local Level in Slovakia</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Daniel%20Klimovsk%C3%BD">Daniel Klimovský</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Slovakia belongs to the most fragmented countries if one looks at its local government structure. The Slovak central governments implemented both broad devolution and fiscal decentralization some decades ago. However, neither territorial consolidation nor size categorization of local competences and powers has been implemented yet. Taking this fact into account, it is clear that the local governments are challenged not only by their citizens as customers but also by effectiveness as well as efficiency of delivered services. The paper is focused on behavior of the local governments in Slovakia and their approaches towards other local partners, including other local governments. Analysis of set of interviews shows that inter-municipal cooperation is the most common local partnership in Slovakia, but due to diversity of the local governments, this kind of cooperation leads to both intended and unintended outcomes. While in many cases the local governments are more efficient as well as effective in delivery of local services thanks to inter-municipal cooperation, there are many cases where inter-municipal cooperation fails, and it brings rather questionable or even negative outcomes. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=local%20governments" title="local governments">local governments</a>, <a href="https://publications.waset.org/abstracts/search?q=local%20partnerships" title=" local partnerships"> local partnerships</a>, <a href="https://publications.waset.org/abstracts/search?q=inter-municipal%20cooperation" title=" inter-municipal cooperation"> inter-municipal cooperation</a>, <a href="https://publications.waset.org/abstracts/search?q=delivery%20of%20local%20services" title=" delivery of local services"> delivery of local services</a> </p> <a href="https://publications.waset.org/abstracts/81207/intended-and-unintended-outcomes-of-partnerships-at-the-local-level-in-slovakia" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/81207.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">261</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">5489</span> The Aesthetic Manifestations of Nothingness in Contemporary Visual Arts Practice</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Robyn%20Therese%20Munnick">Robyn Therese Munnick</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper aims to report on a qualitative practice-based research study which explores the notion of nothingness and how it (nothingness) is the conceptual and theoretical foundation for artistic practice. Furthermore, this study explicates how the artist used their mother’s battle with cancer and the subsequent void it created as source material for the artistic expression of nothingness. The diagnosis which was followed by a physical and emotional absence of the matriarch of the artist family led to an emotional trauma that triggered a feeling of nothingness within the artist. The overarching problem in the study is thus: how this ‘nothingness’ could be expressed in visual art? Nothingness, as a product of expectation, is a notion which refers to where something used to be, should be or isn’t anymore, which attempts to grasp what is there by not being there. In attempting to express nothingness, the research aims to build on an exploration of various materials and modes utilized in order to underpin the research objectives. The primary mode of delivery for the art-making process is painting. However, through strengthening the messages and meaning of the hypothesis of nothingness within the art and research, the use of further modes and materials became pivotal. This involves the use of unconventional contrasting modes within a painting such as the cloth doily, thread, tubing, ceramics, food colour, spray paint, polyvinyl acetate paint, plaster, wooden boxes and fragments thereof. These materials and modes were vital in visualising and aestheticising the conceptual underpinnings of the research. As a result, this strengthened and emancipated the art from the traditional bounds of pure painting. Methods of data gathering took the form of artefacts, document analysis, and field notes in the form of photographic journaling. Ultimately the body of work and research validates that the idea of nothingness can be artistically explored. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=conceptual" title="conceptual">conceptual</a>, <a href="https://publications.waset.org/abstracts/search?q=nothingness" title=" nothingness"> nothingness</a>, <a href="https://publications.waset.org/abstracts/search?q=modes" title=" modes"> modes</a>, <a href="https://publications.waset.org/abstracts/search?q=unconventional" title=" unconventional"> unconventional</a> </p> <a href="https://publications.waset.org/abstracts/109447/the-aesthetic-manifestations-of-nothingness-in-contemporary-visual-arts-practice" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/109447.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">140</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">5488</span> Vieira Da Silva's Tiles at Universidade Federal Rural Do Rio de Janeiro: A Conservation and Restoration Project</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Adriana%20Anselmo%20Oliveira">Adriana Anselmo Oliveira</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The present project showcases a tile work from the Franco-Portuguese artist Maria Helena Vieira da Silva (1908-1992). It is a set of 8 panels composed of figurative and geometric tiles, with extra tiles framing nearby doors and windows in a study room in the (UFRRJ, Universidade Federal Rural do Rio de Janeiro). The aforementioned work was created between 1942 and 1943, during the artist's 6 year exile in the Brazilian city. This one-of-a-kind tileset was designed and made by Vieira da Silva between 1942 and 1943. Over the years, several units were lost, which led to their replacement in the nineties. However, these replacements don't do justice to the original work of art. In 2007, a project was initiated to fully repair and maintain the set. Three panels are removed and restored, but the project is halted. To this day, the three fully restored panels remain in boxes. In 2016 a new restoration project is submitted by the (Faculdade de Belas Artes da Universidade de Lisboa) in collaboration with de (Fundacão Árpád Szenes-Vieira da Silva). There are many varied opinions on restoring and conserving older pieces of art, however, we have the moral duty to safeguard the original materials used by the artist along with the artists original vision and also to care for the future generations of students who will use the space in which the tile-work was inserted. Many tiles have been replaced by white tiles, tiles with a divergent colour pallet and technique, and in a few cases, the incorrect place or way around. These many factors make it increasingly difficult to maintain the artists original vision and destroy and chance of coherence within the artwork itself. The conservative technician cannot make new images to fill the empty spaces or mark the remaining images with their own creative input. with reliable photographic documentation that can provide us with the necessary vision to allow us to proceed with an accurate reconstruction, we have the obligation to proceed and return the piece of art to its true form, as in its current state, it is impossible to maintain its original glory. Using the information we have, we must find a way to differentiate the original tiles from the reconstructions in order to recreate and reclaim the original message from the artist. The objective of this project is to understand the significance of tiles in Vieira da Silva's art as well as the influence they had on the artist's pictorial language since the colour definition on tile work is vastly different from the painting process as the materials change during their merger. Another primary goal is to understand what the previous interventions achieved besides increasing the artworks durability. The main objective is to submit a proposal that can salvage the artist's visual intention and supports it for posteriority. In summary, this proposal goes further than the usual conservative interventions as it intends to recreate the original artistic worth, prioritising the aesthetics and keeping its soul alive. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Vieira%20da%20Silva" title="Vieira da Silva">Vieira da Silva</a>, <a href="https://publications.waset.org/abstracts/search?q=tiles" title=" tiles"> tiles</a>, <a href="https://publications.waset.org/abstracts/search?q=conservation" title=" conservation"> conservation</a>, <a href="https://publications.waset.org/abstracts/search?q=restoration" title=" restoration"> restoration</a> </p> <a href="https://publications.waset.org/abstracts/137916/vieira-da-silvas-tiles-at-universidade-federal-rural-do-rio-de-janeiro-a-conservation-and-restoration-project" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/137916.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">154</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">5487</span> Local Religion 'Parmalim': Between Civilization and Faith</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sabrina%20Yulianti">Sabrina Yulianti</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study aims to explain the identity struggles of local religious communities in Indonesia. Local religion in Indonesia is not recognized by the government and is not incorporated into the official religion in Indonesia. This makes the local religions in Indonesia experienced the challenges and obstacles in fulfilling their rights as citizens of Indonesia. Challenges and barriers they experience such as: difficulty in making of the birth certificate and marriage. It is as experienced by one of the local religions namely Parmalim which located in North Sumatra. Not only difficulty in taking care of the bureaucracy as a citizen, but the local religion is seen as a minority and sometimes regarded as follower of deviate religion. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=local%20religion" title="local religion">local religion</a>, <a href="https://publications.waset.org/abstracts/search?q=faith" title=" faith"> faith</a>, <a href="https://publications.waset.org/abstracts/search?q=struggles" title=" struggles"> struggles</a>, <a href="https://publications.waset.org/abstracts/search?q=civilization" title=" civilization"> civilization</a>, <a href="https://publications.waset.org/abstracts/search?q=discrimination" title=" discrimination"> discrimination</a> </p> <a href="https://publications.waset.org/abstracts/36713/local-religion-parmalim-between-civilization-and-faith" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/36713.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">400</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">5486</span> The Application of Pareto Local Search to the Single-Objective Quadratic Assignment Problem</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Abdullah%20Alsheddy">Abdullah Alsheddy</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper presents the employment of Pareto optimality as a strategy to help (single-objective) local search escaping local optima. Instead of local search, Pareto local search is applied to solve the quadratic assignment problem which is multi-objectivized by adding a helper objective. The additional objective is defined as a function of the primary one with augmented penalties that are dynamically updated. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Pareto%20optimization" title="Pareto optimization">Pareto optimization</a>, <a href="https://publications.waset.org/abstracts/search?q=multi-objectivization" title=" multi-objectivization"> multi-objectivization</a>, <a href="https://publications.waset.org/abstracts/search?q=quadratic%20assignment%20problem" title=" quadratic assignment problem"> quadratic assignment problem</a>, <a href="https://publications.waset.org/abstracts/search?q=local%20search" title=" local search"> local search</a> </p> <a href="https://publications.waset.org/abstracts/9877/the-application-of-pareto-local-search-to-the-single-objective-quadratic-assignment-problem" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/9877.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">466</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">5485</span> Translation and Transculturality in Contemporary Chinese Art: A Case Study of Gu Wenda’s 'Forest of Stone Steles' and 'United Nations: Temple of Heaven'</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rui%20Zhang">Rui Zhang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Translation has been elevated to one of the key notions in contemporary cultural discourse for a wide range of fields. It focuses not only on communication or transmission of meaning between different languages, but also on ways in which the very act of translation can be understood as a metaphor for cultural process. In recent years, the notion of translation is employed by some contemporary Chinese artists in a conceptual way, whose works contribute to constructing/deconstructing global/local cultural discourse and their own cultural identities. This study examines two artworks by contemporary Chinese artist Gu Wenda from a translational perspective, namely Forest of Stone Steles - Retranslation & Rewriting of Tang Poetry and United Nations - China Monument: Temple of Heaven, aiming to broaden the scope of Translation Studies to investigate visual culture and enrich methodological approach to contemporary Chinese art. Focusing on the relationship between translation, visuality and materiality in these two works, this study explores the nature of translation as part of the production of cultural discourse in the age of globalization as well as a way of establishing cultural identity. Gu Wenda, one of the most prestigious artists in contemporary China, is considered a pioneer in ‘85 Art Movement of China, and thereafter he went abroad for his artistic pursuits. His transnational experience enriches his cultural identity and the underlying discourse constructed/deconstructed in many of his works. In the two works already mentioned, the concept of translation is deployed by Gu Wenda on both linguistic level and metaphorical level for artistic expression. These two works produce discourses in which the artist’s perception of cultural identity in a transnational context is articulated by the tension between source text and target text. Based on the conceptual framework of cultural identity proposed by Stuart Hall, analyses of Gu Wenda’s cultural identity revealed through translation in these two works are centred on two axes, i.e., the axis of similarity and continuity with Chinese intellectual culture and the axis of difference and rupture with it, and the dialogic relationship between these two vectors. It argues that besides serving as a means of constructing visuality in the two works, translation metaphorizes Gu Wenda’s journey from overcoming his cultural identity anxiety to re-establishing a transcultural identity embedded in the underlying discourse. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=contemporary%20Chinese%20art" title="contemporary Chinese art">contemporary Chinese art</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20identity" title=" cultural identity"> cultural identity</a>, <a href="https://publications.waset.org/abstracts/search?q=transculturality" title=" transculturality"> transculturality</a>, <a href="https://publications.waset.org/abstracts/search?q=translation" title=" translation"> translation</a> </p> <a href="https://publications.waset.org/abstracts/78648/translation-and-transculturality-in-contemporary-chinese-art-a-case-study-of-gu-wendas-forest-of-stone-steles-and-united-nations-temple-of-heaven" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/78648.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">497</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">5484</span> The Family Resemblance in the Handwriting of Painters: Jacek and Rafał Malczewski’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 aims to present the results of scientific research on family resemblance in the handwriting of painters. Such a problem is known in handwriting analysis, but it was never a research subject in the scope of painters' signatures on works of art. For this research, the author chose Jacek, and Rafał Malczewski (father and son) as many of their paintings are in museums, and most of them are signed. The aim was to create a catalogue of traits similar to the handwriting of both artists. Such data could be helpful for the expert’s opinion in the decision-making process to establish whether the signature is authentic and, if so, whether it is the artist whose signature is analysed, not the other family member. There are known examples of relatives of the artists who signed their works. Many of them were artists themselves. For instance Andrzej Wróblewski’s mother, Krystyna was a printmaker. To save his legacy, she signed many of her son’s works after his death using his name. This research methodology consisted of completing representative samples of signatures of both artists, which were collected in selected Polish museums. Then a catalogue of traits was created using a forensic handwriting graphic-comparative method (graphic method). The paper contains a concluding statement that it could be one of the elements of research in an expert’s analysis of the authenticity of the signature on paintings. <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/152838/the-family-resemblance-in-the-handwriting-of-painters-jacek-and-rafal-malczewskis-case" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/152838.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">83</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">5483</span> Contestation of Local and Non-Local Knowledge in Developing Bali Cattle at Barru Regency, Province of South Sulawesi, Indonesia</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=A.%20Amidah%20Amrawaty">A. Amidah Amrawaty</a>, <a href="https://publications.waset.org/abstracts/search?q=M.%20Saleh%20S.%20Ali"> M. Saleh S. Ali</a>, <a href="https://publications.waset.org/abstracts/search?q=Darmawan%20Salman"> Darmawan Salman</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The aim of this study was to identify local and non local knowledge in Bali cattle development, to analyze the contestation between local and non-local knowledge. The paradigm used was constructivism paradigm with a qualitative approach. descriptive type of research using case study method. The study was conducted in four villages subjected to Agropolitan Program, i.e. Palakka, Tompo, Galung and Anabanua in Barru District, province of South Sulawesi. The results indicated that the local knowledge of the farmers were: a) knowledge of animal housing, b) knowledge of the prevention and control disease, c) knowledge of the feed, d) knowledge of breed selection, e) knowledge of sharing arrangement, f) knowledge of marketing, Generally, there are three patterns of knowledge contestation namely coexistence, ‘zero sum game’ and hybridization but in this research only coexistence and zero sum game patterns took place, while the pattern of hybridization did not occur. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=contestation" title="contestation">contestation</a>, <a href="https://publications.waset.org/abstracts/search?q=local%20knowledge" title=" local knowledge"> local knowledge</a>, <a href="https://publications.waset.org/abstracts/search?q=non-local%20knowledge" title=" non-local knowledge"> non-local knowledge</a>, <a href="https://publications.waset.org/abstracts/search?q=developing%20of%20Bali%20cattle" title=" developing of Bali cattle"> developing of Bali cattle</a> </p> <a href="https://publications.waset.org/abstracts/49469/contestation-of-local-and-non-local-knowledge-in-developing-bali-cattle-at-barru-regency-province-of-south-sulawesi-indonesia" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/49469.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">403</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">5482</span> The Artist and the Opera: An Analysis of Gaze, Spatiality, and Women’s Labor in Degas’s The Rehearsal of the Ballet Onstage, 1874</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Moses%20Abrahamson">Moses Abrahamson</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper examines Edgar Degas’s The Rehearsal of the Ballet Onstage (1874) through the lens of gaze, spatiality, and women’s labor within the context of 19th-century Parisian modernity. Degas’s depiction of ballet dancers, who were often subject to sexual exploitation by wealthy patrons of the Paris Opera, extends beyond a mere aesthetic rendering of performance. Instead, the painting highlights the Opera’s backstage dynamics, where class and gender intersect through power imbalances. By analyzing the gazes of the Opera’s male patrons and ballet masters, the paper explores the implicit commodification of the dancers, drawing on Mulvey’s theory of the male gaze and its manifestation in the portrayal of working-class women. Degas’s positioning of these figures, coupled with his perspective as both artist and patron, reveals his engagement with the spatial layout of the Opera and the modern social hierarchies it embodies. The painting serves as a microcosm of broader sociocultural transformations, where Degas reflects on the labor of ballet dancers as both private toil and public spectacle, connecting his artistic process to the gendered and classed politics of modern Parisian society. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=class%20dynamics" title="class dynamics">class dynamics</a>, <a href="https://publications.waset.org/abstracts/search?q=male%20gaze" title=" male gaze"> male gaze</a>, <a href="https://publications.waset.org/abstracts/search?q=spatiality" title=" spatiality"> spatiality</a>, <a href="https://publications.waset.org/abstracts/search?q=modernity" title=" modernity"> modernity</a> </p> <a href="https://publications.waset.org/abstracts/192664/the-artist-and-the-opera-an-analysis-of-gaze-spatiality-and-womens-labor-in-degass-the-rehearsal-of-the-ballet-onstage-1874" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/192664.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">24</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">5481</span> Local Homology Modules</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Fatemeh%20Mohammadi%20Aghjeh%20Mashhad">Fatemeh Mohammadi Aghjeh Mashhad</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In this paper, we give several ways for computing generalized local homology modules by using Gorenstein flat resolutions. Also, we find some bounds for vanishing of generalized local homology modules. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=a-adic%20completion%20functor" title="a-adic completion functor">a-adic completion functor</a>, <a href="https://publications.waset.org/abstracts/search?q=generalized%20local%20homology%20modules" title=" generalized local homology modules"> generalized local homology modules</a>, <a href="https://publications.waset.org/abstracts/search?q=Gorenstein%20flat%20modules" title=" Gorenstein flat modules"> Gorenstein flat modules</a> </p> <a href="https://publications.waset.org/abstracts/23188/local-homology-modules" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/23188.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">419</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">5480</span> A Literature Review on the Role of Local Potential for Creative Industries </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Maya%20Irjayanti">Maya Irjayanti</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Local creativity utilization has been a strategic investment to be expanded as a creative industry due to its significant contribution to the national gross domestic product. Many developed and developing countries look toward creative industries as an agenda for the economic growth. This study aims to identify the role of local potential for creative industries from various empirical studies. The method performed in this study will involve a peer-reviewed journal articles and conference papers review addressing local potential and creative industries. The literature review analysis will include several steps: material collection, descriptive analysis, category selection, and material evaluation. Finally, the outcome expected provides a creative industries clustering based on the local potential of various nations. In addition, the finding of this study will be used as future research reference to explore a particular area with well-known aspects of local potential for creative industry products. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=business" title="business">business</a>, <a href="https://publications.waset.org/abstracts/search?q=creativity" title=" creativity"> creativity</a>, <a href="https://publications.waset.org/abstracts/search?q=local%20potential" title=" local potential"> local potential</a>, <a href="https://publications.waset.org/abstracts/search?q=local%20wisdom" title=" local wisdom"> local wisdom</a> </p> <a href="https://publications.waset.org/abstracts/77650/a-literature-review-on-the-role-of-local-potential-for-creative-industries" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/77650.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">385</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">5479</span> Present State of Local Public Transportation Service in Local Municipalities of Japan and Its Effects on Population</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Akiko%20Kondo">Akiko Kondo</a>, <a href="https://publications.waset.org/abstracts/search?q=Akio%20Kondo"> Akio Kondo</a> </p> <p class="card-text"><strong>Abstract:</strong></p> We are facing regional problems to low birth rate and longevity in Japan. Under this situation, there are some local municipalities which lose their vitality. The aims of this study are to clarify the present state of local public transportation services in local municipalities and relation between local public transportation services and population quantitatively. We conducted a questionnaire survey concerning regional agenda in all local municipalities in Japan. We obtained responses concerning the present state of convenience in use of public transportation and local public transportation services. Based on the data gathered from the survey, it is apparent that we should some sort of measures concerning public transportation services. Convenience in use of public transportation becomes an object of public concern in many rural regions. It is also clarified that some local municipalities introduce a demand bus for the purpose of promotion of administrative and financial efficiency. They also introduce a demand taxi in order to secure transportation to weak people in transportation and eliminate of blank area related to public transportation services. In addition, we construct a population model which includes explanatory variables of present states of local public transportation services. From this result, we can clarify the relation between public transportation services and population quantitatively. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=public%20transportation" title="public transportation">public transportation</a>, <a href="https://publications.waset.org/abstracts/search?q=local%20municipality" title=" local municipality"> local municipality</a>, <a href="https://publications.waset.org/abstracts/search?q=regional%20analysis" title=" regional analysis"> regional analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=regional%20issue" title=" regional issue"> regional issue</a> </p> <a href="https://publications.waset.org/abstracts/42853/present-state-of-local-public-transportation-service-in-local-municipalities-of-japan-and-its-effects-on-population" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/42853.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">400</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">5478</span> The Visible Third: Female Artists’ Participation in the Portuguese Contemporary Art World</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sonia%20Bernardo%20Correia">Sonia Bernardo Correia</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper is part of ongoing research that aims to understand the role of gender in the composition of the Portuguese contemporary art world and the possibilities and limits to the success of the professional paths of women and men artists. The field of visual arts is gender-sensitive as it differentiates the positions occupied by artists in terms of visibility and recognition. Women artists occupy a peripheral space, which may hinder the progression of their professional careers. Based on the collection of data on the participation of artists in Portuguese exhibitions, art fairs, auctions, and art awards between 2012 and 2019, the goal of this study is to portray female artists’ participation as a condition of professional, social, and cultural visibility. From the analysis of a significant sample of institutions from the artistic field, it was possible to observe that the works of female authors are under exhibited, never exceeding one-third of the total of exhibitions. Male artists also enjoy a comfortable majority as gallery artists (around 70%) and as part of institutional collections (around 80%). However, when analysing the younger age cohorts of artists by gender, it appears that there is representation parity, which may be a good sign of change. The data shows that there are persistent gender inequalities in accessing the artist profession. Women are not yet occupying positions of exposure, recognition, and legitimation in the market similar to those of their male counterparts, suggesting that they may face greater obstacles in experiencing successful professional trajectories. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=inequalities" title="inequalities">inequalities</a>, <a href="https://publications.waset.org/abstracts/search?q=invisibility%20of%20the%20woman%20artist" title=" invisibility of the woman artist"> invisibility of the woman artist</a>, <a href="https://publications.waset.org/abstracts/search?q=gender" title=" gender"> gender</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20arts" title=" visual arts"> visual arts</a> </p> <a href="https://publications.waset.org/abstracts/136535/the-visible-third-female-artists-participation-in-the-portuguese-contemporary-art-world" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/136535.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">136</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">5477</span> An Appraisal of Revenue Collection in Local Government: A Case Study of Boripe Local Government Iragbiji Osun State</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Olanike%20O.%20Akinwale">Olanike O. Akinwale</a>, <a href="https://publications.waset.org/abstracts/search?q=Isiaka%20S.%20Adedoyin"> Isiaka S. Adedoyin</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Revenue is a fund realized by the government to meet both current and capital expenditures. The study found out the various ways through which local governments in Nigeria generate revenue or obtain funds and determined whether the people of Boripe local government are paying tax as at when due and also evaluated how the revenue generated is being used by the local government. During the course of this study, research questionnaires were drafted and distributed to respondents in the local government secretariat who supplied the information needed to carry out the research work. Data were collected by using simple random sampling technique where members of the population have been given equal chance of being picked as a member of the sample. Data were analysed using chart table; the chart analyzed the figure of the past two years revenue and expenditure of the local government. It was deduced from the result that revenue generated but this was not up to what one expected for this local government to finance the projected expenditure when the size was considered, its location as well as its natural endowment of this local government. This was due to lack of cooperation of the people and staffs within the local government in the local government jurisdiction as well as fraudulent activities the revenue collectors engaged in. Revenue generation is a fuel for development in any organization whether public or private. The ability of revenue drive of Boripe was not strong enough since the targeted revenue from taxation was not enough to meet the projected expenditure for a particular year as in 2016, the difference was carried forward to the next year. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=appraisal" title="appraisal">appraisal</a>, <a href="https://publications.waset.org/abstracts/search?q=expenditure" title=" expenditure"> expenditure</a>, <a href="https://publications.waset.org/abstracts/search?q=local%20government" title=" local government"> local government</a>, <a href="https://publications.waset.org/abstracts/search?q=questionnaire" title=" questionnaire"> questionnaire</a>, <a href="https://publications.waset.org/abstracts/search?q=revenue" title=" revenue"> revenue</a> </p> <a href="https://publications.waset.org/abstracts/81912/an-appraisal-of-revenue-collection-in-local-government-a-case-study-of-boripe-local-government-iragbiji-osun-state" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/81912.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">458</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">5476</span> The Corrupt Behavior of Local Government Officials and Its Effect: A Case Study of Muang District, Songkhla Province, Thailand</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=C.%20Noknoi">C. Noknoi</a>, <a href="https://publications.waset.org/abstracts/search?q=W.%20Boripunt"> W. Boripunt</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This research aims to compare the corrupt behavior of local government officials and the public’s opinion about the effects of this corruption, as classified by the personal factors of the public. It also analyzes the relationship between the corrupt behavior of local government officials and the public’s opinion toward the effects of this corruption. The sample used in this research comprised 322 voters from Songkhla province, with a questionnaire being used to collect the data. The statistics used in the data analysis were the percentage, mean, standard deviation, t-test, ANOVA, and Pearson correlation. The results showed that the corrupt behavior of local government officials was at a high overall level. The sample’s opinion toward the effects of corrupt local government officials was also at a high overall level. Hypothesis testing indicated that samples with different personal factors did not vary in how they regarded the corrupt behavior of local government officials, and the samples’ opinions toward the effects of corrupt local government officials also did not vary. The corrupt behavior of local government officials and the opinions toward the effect of corrupt local government officials are both at consistently high levels and follow the same trend. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=corrupt%20behavior" title="corrupt behavior">corrupt behavior</a>, <a href="https://publications.waset.org/abstracts/search?q=local%20government" title=" local government"> local government</a>, <a href="https://publications.waset.org/abstracts/search?q=official" title=" official"> official</a>, <a href="https://publications.waset.org/abstracts/search?q=Thailand" title=" Thailand"> Thailand</a> </p> <a href="https://publications.waset.org/abstracts/30240/the-corrupt-behavior-of-local-government-officials-and-its-effect-a-case-study-of-muang-district-songkhla-province-thailand" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/30240.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">335</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">5475</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">5474</span> Cut-Out Animation as an Technic and Development inside History Process</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Armagan%20Gokcearslan">Armagan Gokcearslan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The art of animation has developed very rapidly from the aspects of script, sound and music, motion, character design, techniques being used and technological tools being developed since the first years until today. Technical variety attracts a particular attention in the art of animation. Being perceived as a kind of illusion in the beginning; animations commonly used the Flash Sketch technique. Animations artists using the Flash Sketch technique created scenes by drawing them on a blackboard with chalk. The Flash Sketch technique was used by primary animation artists like Emile Cohl, Winsor McCay ande Blackton. And then tools like Magical Lantern, Thaumatrope, Phenakisticope, and Zeotrap were developed and started to be used intensely in the first years of the art of animation. Today, on the other hand, the art of animation is affected by developments in the computer technology. It is possible to create three-dimensional and two-dimensional animations with the help of various computer software. Cut-out technique is among the important techniques being used in the art of animation. Cut-out animation technique is based on the art of paper cutting. Examining cut-out animations; it is observed that they technically resemble the art of paper cutting. The art of paper cutting has a rooted history. It is possible to see the oldest samples of paper cutting in the People’s Republic of China in the period after the 2. century B.C. when the Chinese invented paper. The most popular artist using the cut-out animation technique is the German artist Lotte Reiniger. This study titled “Cut-out Animation as a Technic and Development Inside History Process” will embrace the art of paper cutting, the relationship between the art of paper cutting and cut-out animation, its development within the historical process, animation artists producing artworks in this field, important cut-out animations, and their technical properties. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cut-out" title="cut-out">cut-out</a>, <a href="https://publications.waset.org/abstracts/search?q=paper%20art" title=" paper art"> paper art</a>, <a href="https://publications.waset.org/abstracts/search?q=animation" title=" animation"> animation</a>, <a href="https://publications.waset.org/abstracts/search?q=technic" title=" technic"> technic</a> </p> <a href="https://publications.waset.org/abstracts/62712/cut-out-animation-as-an-technic-and-development-inside-history-process" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/62712.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">275</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">5473</span> The Amalgamation of Fashion and Art: A Camaraderie of the Creative Abilities</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Brar%20Prabhdip">Brar Prabhdip</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Art and fashion are coupled by a common bridge which is ‘Creativity’. For centuries art has influenced fashion and has been inspirational for modern-day national as well as international designers. Italian artists during the Renaissance period were highly influenced by art. 20th and 21st-century artists have often found themselves the muses of major fashion houses. Many times artists and designers like Andy Warhol, Damien Hirst, and Dior, Prada, respectively, have collaborated and successfully created prints, textiles, and silhouettes that have dazzled the art and fashion world. This paper nudges deeper and discourses the statement pieces of remarkable designers that have been influenced by art and adorned by international celebrities. Indian designer Manish Arora has been able to design a remarkable position for himself in the international fashion world. His clothes are avant-garde and favoured choice of celebrities like Lady Gaga and Katy Perry. The Manish Arora collaboration with Berlin-based artist Amrie Hoffstater has carved its space for a new segment. The latest collaboration, despite being in the pandemic, is between Sabyasachi (India) and Bergdorfs Goodman (New York). It boasts of the traditional Colonial Indian sensibility juxtaposed with the eclectic Western American mix for the new-age wearer. A qualitative and exploratory research design is steered towards both art and fashion as they reflect social, economic, and political changes. Social issues are highlighted through these platforms. Secondary data has been used for this paper to explain how designers have bridged the way for how one could wear fashion as a piece of art in and of itself. Conclusively we reach the perfect camaraderie between art and fashion. <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=artist" title=" artist"> artist</a>, <a href="https://publications.waset.org/abstracts/search?q=collaboration" title=" collaboration"> collaboration</a>, <a href="https://publications.waset.org/abstracts/search?q=designer" title=" designer"> designer</a>, <a href="https://publications.waset.org/abstracts/search?q=fashion" title=" fashion"> fashion</a>, <a href="https://publications.waset.org/abstracts/search?q=relationship%20commas" title=" relationship commas"> relationship commas</a> </p> <a href="https://publications.waset.org/abstracts/169840/the-amalgamation-of-fashion-and-art-a-camaraderie-of-the-creative-abilities" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/169840.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">87</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">5472</span> A Case Study on the Tourists' Satisfaction: Local Gastronomy in Pagudpud, Ilocos Norte</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Reysand%20Mae%20A.%20Abapial">Reysand Mae A. Abapial</a>, <a href="https://publications.waset.org/abstracts/search?q=Christine%20Claire%20Z.%20Agra"> Christine Claire Z. Agra</a>, <a href="https://publications.waset.org/abstracts/search?q=Quenna%20Lyn%20V.%20De%20Guzman"> Quenna Lyn V. De Guzman</a>, <a href="https://publications.waset.org/abstracts/search?q=Marielle%20Arianne%20Joyce%20Q.%20Hojilla"> Marielle Arianne Joyce Q. Hojilla</a>, <a href="https://publications.waset.org/abstracts/search?q=John%20Joseph%20A.%20Tiangco"> John Joseph A. Tiangco</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The study focused on the assessment of the tourists’ satisfaction on the local gastronomy in Pagudpud, Ilocos Norte as a tourist destination as perceived by 100 tourists visiting the tourist destination, which is determined through convenient random sampling. Mean, percentage frequency and Wilcoxon rank sum test were used in the collection of data. The results revealed that the tourists agree that the local establishments offering local cuisines are accessible in terms of the location, internet visibility and facilities for persons-with-disabilities. The tourist are also willing to pay for the local food because it is attainable, budget-friendly, worthy for an expensive price, satisfies the cravings, reflects the physical appearance of the establishment and its quantity is reasonable based on the price. However, the tourists disagree that the local food completes their overall experience as tourists and it does not have the potential to satisfy all types of tourists. Recommendations for the enhancement of the local cuisine and implications for future research are discussed. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=gastronomy" title="gastronomy">gastronomy</a>, <a href="https://publications.waset.org/abstracts/search?q=local%20gastronomy" title=" local gastronomy"> local gastronomy</a>, <a href="https://publications.waset.org/abstracts/search?q=tourist%20satisfaction" title=" tourist satisfaction"> tourist satisfaction</a>, <a href="https://publications.waset.org/abstracts/search?q=Pagudpud" title=" Pagudpud"> Pagudpud</a> </p> <a href="https://publications.waset.org/abstracts/20911/a-case-study-on-the-tourists-satisfaction-local-gastronomy-in-pagudpud-ilocos-norte" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/20911.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">671</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">5471</span> An Application of Remote Sensing for Modeling Local Warming Trend</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Khan%20R.%20Rahaman">Khan R. Rahaman</a>, <a href="https://publications.waset.org/abstracts/search?q=Quazi%20K.%20Hassan"> Quazi K. Hassan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Global changes in climate, environment, economies, populations, governments, institutions, and cultures converge in localities. Changes at a local scale, in turn, contribute to global changes as well as being affected by them. Our hypothesis is built on a consideration that temperature does vary at local level (i.e., termed as local warming) in comparison to the predicted models at the regional and/or global scale. To date, the bulk of the research relating local places to global climate change has been top-down, from the global toward the local, concentrating on methods of impact analysis that use as a starting point climate change scenarios derived from global models, even though these have little regional or local specificity. Thus, our focus is to understand such trends over the southern Alberta, which will enable decision makers, scientists, researcher community, and local people to adapt their policies based on local level temperature variations and to act accordingly. Specific objectives in this study are: (i) to understand the local warming (temperature in particular) trend in context of temperature normal during the period 1961-2010 at point locations using meteorological data; (ii) to validate the data by using specific yearly data, and (iii) to delineate the spatial extent of the local warming trends and understanding influential factors to adopt situation by local governments. Existing data has brought the evidence of such changes and future research emphasis will be given to validate this hypothesis based on remotely sensed data (i.e. MODIS product by NASA). <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=local%20warming" title="local warming">local warming</a>, <a href="https://publications.waset.org/abstracts/search?q=climate%20change" title=" climate change"> climate change</a>, <a href="https://publications.waset.org/abstracts/search?q=urban%20area" title=" urban area"> urban area</a>, <a href="https://publications.waset.org/abstracts/search?q=Alberta" title=" Alberta"> Alberta</a>, <a href="https://publications.waset.org/abstracts/search?q=Canada" title=" Canada"> Canada</a> </p> <a href="https://publications.waset.org/abstracts/44858/an-application-of-remote-sensing-for-modeling-local-warming-trend" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/44858.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">339</span> </span> </div> </div> <ul class="pagination"> <li class="page-item disabled"><span class="page-link">&lsaquo;</span></li> <li class="page-item active"><span class="page-link">1</span></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=local%20artist&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=local%20artist&page=3">3</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=local%20artist&page=4">4</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=local%20artist&page=5">5</a></li> <li class="page-item"><a class="page-link" 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