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artwork</title> <meta name="description" content="Search results for: artwork"> <meta name="keywords" content="artwork"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none navbar-toggler ml-auto" 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class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="artwork"> <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> 56</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: artwork</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">56</span> The Establishing Cultural Learning Center of Wayang Artwork for Creative Tourism: Challenge and Opportunities</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Pornnapat%20Berndt">Pornnapat Berndt</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The purpose of this research is to explore challenge and opportunities to establish cultural learning center of Wayang Artwork for creative tourism within the house of Mr. Sa-ngat Jaiprom. To accomplish the goals and objectives, qualitative research will be applied. The research instruments used are observation, questionnaires (pretest and posttest), basic interviews, in-depth interviews and interviewed of key local informants. The study also uses both primary data and secondary data. From research result, it is revealed that the sample groups more realized valuable heritage value after learning about the history of wayang and the way to practices. The sample group indicated that it not too difficult for them to carving Wayang artwork as they have knowledge about Thai art before. However, in their opinion, they comment that it might difficult for others who have no basic knowledge to learn to carve wayang artwork. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=creative%20tourism" title="creative tourism">creative tourism</a>, <a href="https://publications.waset.org/abstracts/search?q=local%20community" title=" local community"> local community</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20learning%20center" title=" cultural learning center"> cultural learning center</a>, <a href="https://publications.waset.org/abstracts/search?q=wayang%20artwork%0D%0A%E2%80%83" title=" wayang artwork "> wayang artwork </a> </p> <a href="https://publications.waset.org/abstracts/17748/the-establishing-cultural-learning-center-of-wayang-artwork-for-creative-tourism-challenge-and-opportunities" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/17748.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">368</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">55</span> Doris Salcedo: Parameters of Political Commitment in Colombia</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Diana%20Isabel%20Torres%20Silva">Diana Isabel Torres Silva</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Doris Salcedo is the most prominent sculptor from Colombia ever and currently, one of the most prestigious Latin-American artists in the world. Her artwork, intended as political art, has war as a background, in particular the Colombian civil conflict, and it addresses the way that its violence affects victims’ lives irreparably. While Salcedo is internationally recognized as a talented and a politically committed artist, some Colombian critics consider her artwork as the propagandist and influenced by the interest of multinational companies and the organizations that fund it. This paper, as part of a more extended research project, attempts to demonstrate that Doris Salcedo’s artwork makes visible the victims suffering and mourning and compels the viewers’ sympathy, although its approach is superficial. It does not achieve a complete or complex understanding of the social and historical causes underneath the war and maybe because of that has become a successful commodity for the international arts market. The paper considers, firstly, the influence that Colombian Nuevo Teatro, from the sixties, had on Salcedo’s early political perspective and, secondly, analyzes in detail the first series of her artwork (1992-1998) and how those works address grieving. The focus point of this analysis will be the domestic furniture sculptures, which are the main symbolic element of Salcedo’s oeuvre. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Arts%20and%20politics" title="Arts and politics">Arts and politics</a>, <a href="https://publications.waset.org/abstracts/search?q=Doris%20Salcedo" title=" Doris Salcedo"> Doris Salcedo</a>, <a href="https://publications.waset.org/abstracts/search?q=Colombian%20art" title=" Colombian art"> Colombian art</a>, <a href="https://publications.waset.org/abstracts/search?q=Political%20Art" title=" Political Art"> Political Art</a> </p> <a href="https://publications.waset.org/abstracts/53134/doris-salcedo-parameters-of-political-commitment-in-colombia" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/53134.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">350</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">54</span> Hackers’ Artwork in Search for a Name: An Analysis of Hackers’ Artwork </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sultana%20Ismet%20Jerin">Sultana Ismet Jerin</a>, <a href="https://publications.waset.org/abstracts/search?q=Md.%20Waseq%20Ur%20Rahman"> Md. Waseq Ur Rahman</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Artworks of hacker artists are one of the new trends in the field of new media arts. When someone hears a name of hacker or anything related to hacking, what comes to one’s mind is usually not connected to art due to its divisive meaning. While it is fascinating that every year a number of hacker summits and hacker art fest are being organized among the respective community, it is at the same time true that people are yet to understand what hacker art really is. However, this new phenomenon of artwork under the title ‘hacker art’ has little been studied. Understanding this new form of art is important as the artists of hacker art belong to the era of digital revolution which is a very significant part of our history. Therefore, it is important to find out the challenges in defining them and find out solutions to preserve them. In this paper, the key question that has been addressed is why artworks of hacker artists are facing the complicacies to be defined or categorized. Content analysis of the hacker manifesto (a short historical essay written by a hacker) and two hacker art projects has been conducted to find out the issues surrounding the key research questions. The paper ends with discussing the findings and possible solutions to the challenges hacker artists facing. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=media%20art" title="media art">media art</a>, <a href="https://publications.waset.org/abstracts/search?q=hacker%20art" title=" hacker art"> hacker art</a>, <a href="https://publications.waset.org/abstracts/search?q=hacker%20artist" title=" hacker artist"> hacker artist</a>, <a href="https://publications.waset.org/abstracts/search?q=new%20media" title=" new media"> new media</a> </p> <a href="https://publications.waset.org/abstracts/65420/hackers-artwork-in-search-for-a-name-an-analysis-of-hackers-artwork" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/65420.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">191</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">53</span> An Investigation of the Influence of the Iranian 1979 Revolution on Tehran’s Public Art </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=M.%20Sohrabi%20Narciss">M. Sohrabi Narciss</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Urban spaces of Tehran, the capital of Iran, have witnessed many revolts, movements, and protests during the past few decades. After the Iranian Constitutional Revolution, the 1979 Revolution has had a profound impact on Tehran’s urban space. In 1979, the world watched as Iranians demonstrated en masse against the Pahlavi dynastdy which eventually led to its overthrow. Tehran’s public space is replete with images and artwork that depict the overthrow of the Pahlavi regime and the establishment of an Islamic government in Iran. The public artworks related to the 1979 Islamic Revolution reflect the riots, protests, and strikes that the Iranians underwent during the revolution. Many of these artworks try to revitalize the events that occurred in the 1970s by means of collective memory. Almost 4 decades have passed since the revolution and ever since the public artwork has been affected either directly or indirectly by the Iran-Iraq War, the Green Movement, and the rise and fall of various political forces. The present study is an attempt to investigate Tehran’s urban artwork such as urban sculptures and mural paintings organized and supervised by the government and the graffiti drawn by the critics or the opposition groups. To this end, in addition to the available documents, field research and questionnaires were used to qulaitatively analyze the data. This paper tries to address the following questions: 1) what changes have occurred in Tehran’s urban art? 2) Does the public, revolution-related artwork have an effect on people’s vitality? 3) do Iranians find these artworks appealing or not? <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=public%20space" title="public space">public space</a>, <a href="https://publications.waset.org/abstracts/search?q=Tehran" title=" Tehran"> Tehran</a>, <a href="https://publications.waset.org/abstracts/search?q=public%20art" title=" public art"> public art</a>, <a href="https://publications.waset.org/abstracts/search?q=movement" title=" movement"> movement</a>, <a href="https://publications.waset.org/abstracts/search?q=Islamic%20revolution" title=" Islamic revolution"> Islamic revolution</a> </p> <a href="https://publications.waset.org/abstracts/79635/an-investigation-of-the-influence-of-the-iranian-1979-revolution-on-tehrans-public-art" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/79635.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">196</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">52</span> Covid-19 Lockdown Experience of Elderly Female as Reflected in Their Artwork</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Liat%20Shamri-Zeevi">Liat Shamri-Zeevi</a>, <a href="https://publications.waset.org/abstracts/search?q=Neta%20Ram-Vlasov"> Neta Ram-Vlasov</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Today the world as a whole is attempting to cope with the COVID-19, which has affected all facets of personal and social life from country-wide confinement to maintaining social distance and taking protective measures to maintain hygiene. One of the populations faced with the most severe restrictions is seniors. Various studies have shown that creativity plays a crucial role in dealing with crisis events. Painting - regardless of media - allows for emotional and cognitive processing of these situations, and enables the expression of experiences in a tangible creative way that conveys and endows meaning to the artwork. The current study was conducted in Israel immediately after a 6-week lockdown. It was designed to specifically examine the impact of the COVID-19 pandemic on the quality of life of elderly women as reflected in their artworks. The sample was composed of 21 Israeli women aged 60-90, in good mental health (without diagnosed dementia or Alzheimer's), all of whom were Hebrew-speaking, and retired with an extended family, who indicated that they painted and had engaged in artwork on an ongoing basis throughout the lockdown (from March 12 to May 30, 2020). The participants' artworks were collected, and a semi-structured in-depth interview was conducted that lasted one to two hours. The participants were asked about their feelings during the pandemic and the artworks they produced during this time, and completed a questionnaire on well-being and mental health. The initial analysis of the interviews and artworks revealed themes related to the specific role of each piece of artwork. The first theme included notions that the artwork was an activity and a framework for doing, which supported positive emotions, and provided a sense of vitality during the closure. Most of the participants painted images of nature and growth which were ascribed concrete and symbolic meaning. The second theme was that the artwork enabled the processing of difficult and /or conflicting emotions related to the situation, including anxiety about death and loneliness that were symbolically expressed in the artworks, such as images of the Corona virus and the respiratory machines. The third theme suggested that the time and space prompted by the lockdown gave the participants time for a gathering together of the self, and freed up time for creative activities. Many participants stated that they painted more and more frequently during the Corona lockdown. At the conference, additional themes and findings will be presented. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Corona%20virus" title="Corona virus">Corona virus</a>, <a href="https://publications.waset.org/abstracts/search?q=artwork" title=" artwork"> artwork</a>, <a href="https://publications.waset.org/abstracts/search?q=quality%20of%20life%20of%20elderly" title=" quality of life of elderly "> quality of life of elderly </a> </p> <a href="https://publications.waset.org/abstracts/128682/covid-19-lockdown-experience-of-elderly-female-as-reflected-in-their-artwork" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/128682.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">143</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">51</span> Intertwined Lives: Narratives of Children with Disabilities and Their Siblings</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shyamani%20Hettiarachchi">Shyamani Hettiarachchi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The experiences of children with disabilities and their siblings are seldom documented in Sri Lanka. The aim of this study was to uncover the narratives of young children with disabilities and their siblings in Sri Lanka. Fifteen children with disabilities and fifteen siblings were included in this study. Opportunities were offered to the participants to engage in artwork and story making activities. Narratives on the artwork and stories were gathered and the data analyzed using the key principles of Framework Analysis to determine the key themes. The key themes to emerge were of love, protectiveness, insecurity and visibility. The results highlight the need to take account of the experiences of children with disabilities and their siblings to understand how they understand and cope with disability. <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=children%20with%20disabilities" title=" children with disabilities"> children with disabilities</a>, <a href="https://publications.waset.org/abstracts/search?q=narratives" title=" narratives"> narratives</a>, <a href="https://publications.waset.org/abstracts/search?q=siblings" title=" siblings"> siblings</a>, <a href="https://publications.waset.org/abstracts/search?q=storymaking" title=" storymaking"> storymaking</a> </p> <a href="https://publications.waset.org/abstracts/41652/intertwined-lives-narratives-of-children-with-disabilities-and-their-siblings" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/41652.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">277</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">50</span> The Iconic Pink Donut Box: An Analysis of Memory and Identity Amongst Cambodian Refugees in California</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Basmah%20Arshad">Basmah Arshad</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the aftermath of the Cambodian genocide, many refugees resettled in America. They carved out a distinctively Cambodian-American space in California with donut shops, establishing a tight-knit community that worked to achieve ‘the American dream’. Urged by traumatic memories of the genocide and American society directly encouraging (if not demanding) cultural assimilation, these refugees and successive generations continuously worked to re-identify themselves as Americans. Artist Phung Huynh grew up in this context of family-owned donut shops and the frantic scramble for stability and security. It is this community that she depicts in her artwork series from the late 2010s, ‘Khmerican: Drawing on Pink Donut Boxes’. Huynh's artwork challenges dominant Western narratives about the Cambodian genocide by pushing forward images of resilience, resistance, and joy, while also allowing for a discussion about issues of assimilation, identity, and nostalgia in the Cambodian-American community. It also provokes deeply relevant questions about how refugees and immigrants deliberately appropriate elements of the Americana (eg, donuts) to assimilate and re-fashion their identity as a tactic for financial stability and social survival. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Cambodian%20diaspora" title="Cambodian diaspora">Cambodian diaspora</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=assimilation" title=" assimilation"> assimilation</a>, <a href="https://publications.waset.org/abstracts/search?q=food" title=" food"> food</a>, <a href="https://publications.waset.org/abstracts/search?q=artwork" title=" artwork"> artwork</a> </p> <a href="https://publications.waset.org/abstracts/180014/the-iconic-pink-donut-box-an-analysis-of-memory-and-identity-amongst-cambodian-refugees-in-california" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/180014.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">65</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">49</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">48</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">47</span> Evaluating the Use of Digital Art Tools for Drawing to Enhance Artistic Ability and Improve Digital Skill among Junior School Students</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Aber%20Salem%20Aboalgasm">Aber Salem Aboalgasm</a>, <a href="https://publications.waset.org/abstracts/search?q=Rupert%20Ward"> Rupert Ward</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study investigated some results of the use of digital art tools by junior school children in order to discover if these tools could promote artistic ability and creativity. The study considers the ease of use and usefulness of the tools as well as how to assess artwork produced by digital means. As the use of these tools is a relatively new development in Art education, this study may help educators in their choice of which tools to use and when to use them. The study also aims to present a model for the assessment of students’ artistic development and creativity by studying their artistic activity. This model can help in determining differences in students’ creative ability and could be useful both for teachers, as a means of assessing digital artwork, and for students, by providing the motivation to use the tools to their fullest extent. Sixteen students aged nine to ten years old were observed and recorded while they used the digital drawing tools. The study found that, according to the students’ own statements, it was not the ease of use but the successful effects the tools provided which motivated the children to use them. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=artistic%20ability" title="artistic ability">artistic ability</a>, <a href="https://publications.waset.org/abstracts/search?q=creativity" title=" creativity"> creativity</a>, <a href="https://publications.waset.org/abstracts/search?q=drawing%20digital%20tool" title=" drawing digital tool"> drawing digital tool</a>, <a href="https://publications.waset.org/abstracts/search?q=TAM%20model" title=" TAM model"> TAM model</a>, <a href="https://publications.waset.org/abstracts/search?q=psychomotor%20domain" title=" psychomotor domain"> psychomotor domain</a> </p> <a href="https://publications.waset.org/abstracts/16532/evaluating-the-use-of-digital-art-tools-for-drawing-to-enhance-artistic-ability-and-improve-digital-skill-among-junior-school-students" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/16532.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">330</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">46</span> Black-Brown and Yellow-Brown-Red Skin Pigmentation Elements are Shared in Common: Using Art and Science for Multicultural Education</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mary%20Kay%20Bacallao">Mary Kay Bacallao</a> </p> <p class="card-text"><strong>Abstract:</strong></p> New research on the human genome has revealed secrets to the variation in skin pigmentation found in all human populations. Application of this research to multicultural education has a profound effect on students from all backgrounds. This paper identifies the four locations in the human genome that code for variation in skin pigmentation worldwide. The research makes this new knowledge accessible to students of all ages as they participate in an art project that brings these scientific multicultural concepts to life. Students participate in the application of breakthrough scientific principles through hands-on art activities where they simulate the work of the DNA coding to create their own skin tone using the colors expressed to varying degrees in every people group. As students create their own artwork handprint from the pallet of colors, they realize that each color on the pallet is essential to creating every tone of skin. This research project serves to bring people together and appreciate the variety and diversity in skin tones. As students explore the variations, they create pigmentation with the use of the eumelanins, which are the black-brown sources of pigmentation, and the pheomelanins, which are the yellow-reddish-brown sources of pigmentation. The research project dispels myths about skin tones that have divided people in the past. As a group project, this research leads to greater appreciation and understanding of the diverse family groups. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=diversity" title="diversity">diversity</a>, <a href="https://publications.waset.org/abstracts/search?q=multicultural" title=" multicultural"> multicultural</a>, <a href="https://publications.waset.org/abstracts/search?q=skin%20pigmentation" title=" skin pigmentation"> skin pigmentation</a>, <a href="https://publications.waset.org/abstracts/search?q=eumelanins" title=" eumelanins"> eumelanins</a>, <a href="https://publications.waset.org/abstracts/search?q=pheomelanins" title=" pheomelanins"> pheomelanins</a>, <a href="https://publications.waset.org/abstracts/search?q=handprint" title=" handprint"> handprint</a>, <a href="https://publications.waset.org/abstracts/search?q=artwork" title=" artwork"> artwork</a>, <a href="https://publications.waset.org/abstracts/search?q=science" title=" science"> science</a>, <a href="https://publications.waset.org/abstracts/search?q=genome" title=" genome"> genome</a>, <a href="https://publications.waset.org/abstracts/search?q=human" title=" human"> human</a> </p> <a href="https://publications.waset.org/abstracts/171441/black-brown-and-yellow-brown-red-skin-pigmentation-elements-are-shared-in-common-using-art-and-science-for-multicultural-education" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/171441.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">67</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">45</span> Beyond the White Cube: A Study on the Site Specific Curatorial Practice of Kochi Muziris Biennale</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Girish%20Chandran">Girish Chandran</a>, <a href="https://publications.waset.org/abstracts/search?q=Milu%20Tigi"> Milu Tigi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Brian O'Doherty's seminal essay, Inside the white Cube theorized and named the dominant mode of display and exhibition of Modern Art museums. Ever since the advent of Biennales and other site-specific public art projects we have seen a departure from the white cube mode of exhibition. The physicality, materiality and context within which an artwork is framed has a role in the production of meaning of public art. Equally, artworks contribute to the meaning and identity of a place. This to and fro relationship between the site and artwork and its influence on the sense of place and production of meaning is being explored in this paper in the context of Kochi Muziris Biennale (KMB). Known as the Peoples biennale with over 5 lakh visitors, it is India's first Biennale and its largest art exhibition of contemporary art. The paper employs place theory and contemporary curatorial theories to present the case. The KMB has an interesting mix of exhibition spaces which includes existing galleries and halls, site-specific projects in public spaces, infill developments and adaptive reuse of heritage and other unused architecture. The biennale was envisioned as an event connecting to the history, socio-political peculiarities of the cultural landscape of Kerala and more specifically Kochi. The paper explains the role of spatial elements in forming a curatorial narrative connected to the above mentioned ambitions.The site-specific nature of exhibition and its use of unused architecture helps in the formation of exhibition spaces unique in type and materiality. The paper argues how this helps in the creation of an 'archeology of the place'. The research elucidates how a composite nature of experience helps connect with the thematic ambitions of the Biennale and how it brings about an aesthetics distinct to KMB. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=public%20art" title="public art">public art</a>, <a href="https://publications.waset.org/abstracts/search?q=curatorial%20practice" title=" curatorial practice"> curatorial practice</a>, <a href="https://publications.waset.org/abstracts/search?q=architecture" title=" architecture"> architecture</a>, <a href="https://publications.waset.org/abstracts/search?q=place" title=" place"> place</a>, <a href="https://publications.waset.org/abstracts/search?q=contemporary%20art" title=" contemporary art"> contemporary art</a>, <a href="https://publications.waset.org/abstracts/search?q=site%20specificity" title=" site specificity"> site specificity</a> </p> <a href="https://publications.waset.org/abstracts/97350/beyond-the-white-cube-a-study-on-the-site-specific-curatorial-practice-of-kochi-muziris-biennale" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/97350.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">159</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">44</span> Experiences Using Autoethnography as a Methodology for Research in Education</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sarah%20Amodeo">Sarah Amodeo</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Drawing on the author’s research about the experiences of female immigrant students in academic Adult Education, in Montreal, Quebec, this paper deconstructs the benefits of autoethnography as a methodology for educators in Adult Education. Autoethnography is an advantageous methodology for teachers in Adult Education as it allows for deep engagement, allowing for educators to reflect on student experiences and their day-to-day realities, and in turn, allowing for professional development, improved andragogy, and changes to classroom practices. Autoethnography is a qualitative research methodology that cultivates strategies for improving adult learning. The paper begins by outlining the context that inspired autoethnography for the author’s work, highlighting the emergence of autoethnography as a method, while examining how it is evolving and drawing on foundational work that continues to inspire research. The basic autoethnographic methodologies that are explored in this paper include the use of memory work in episode formation, the use of personal photographs, and textual readings of artworks. Memory work allows for the researcher to use their professional experience and the lived/shared experiences of their students in their research, drawing on episodes from their past. Personal photographs and descriptions of artwork allow researchers to explore images of learning environments/realities in ways that compliment student experiences. Major findings of the text are examined through the analysis of categories of autoethnography. Specific categories include realism, impressionism, and conceptualism which aid in orientating the analysis and emergent themes that develop through self-study. Finally, the text presents a discussion surrounding the limitations of autoethnography, with attention to the trustworthiness and ethical issues. The paper concludes with a consideration of the implications of autoethnography for adult educators in juxtaposition with youth sector work. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=artwork" title="artwork">artwork</a>, <a href="https://publications.waset.org/abstracts/search?q=autoethnography" title=" autoethnography"> autoethnography</a>, <a href="https://publications.waset.org/abstracts/search?q=conceptualism" title=" conceptualism"> conceptualism</a>, <a href="https://publications.waset.org/abstracts/search?q=episode%20formation" title=" episode formation"> episode formation</a>, <a href="https://publications.waset.org/abstracts/search?q=impressionism" title=" impressionism"> impressionism</a>, <a href="https://publications.waset.org/abstracts/search?q=memory%20work" title=" memory work"> memory work</a>, <a href="https://publications.waset.org/abstracts/search?q=personal%20photographs" title=" personal photographs"> personal photographs</a>, <a href="https://publications.waset.org/abstracts/search?q=and%20realism" title=" and realism"> and realism</a>, <a href="https://publications.waset.org/abstracts/search?q=realism" title=" realism"> realism</a> </p> <a href="https://publications.waset.org/abstracts/143549/experiences-using-autoethnography-as-a-methodology-for-research-in-education" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/143549.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">193</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">43</span> Using Arts in ESL Classroom</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nazia%20Shehzad"> Nazia Shehzad</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Language and art can supplement and correlate each other. Through the ages art has been a means of visual expression used to convey a wide series of incarnated ideas. Art can take the perceiver into different times and into different worlds. It can also be used to introduce different levels of vocabulary to the learners of a second language. Learning a second language for most students is a very difficult and strenuous experience. They are not only trying to accommodate to a new language but are also trying to adjust to themselves and a new environment. They are anxious about almost everything, but they are especially self-conscious about their performance in the classroom. By relocating the focus from the student to an object, everyone participates, thus waiving a certain degree of self-consciousness. The experience, a student has with art in the classroom has to be gratifying for both the student and the teacher. If the atmosphere in the classroom is too grave it will not serve any useful purpose. Art is an excellent way to teach English and encourage collaboration and interaction between students of all ages. As making art involves many different processes, it is wonderful for classification and following/giving instructions. It is also an effective way to achieve and implement language of characterization and comparison and vocabulary acquirement for the elements of design (shape, size, color, texture, tone etc.) is so much more entertaining if done in a practical and hands-on way. Expressing ideas and feelings through art is also of immeasurable value where students are at the beginning stages of English language acquisition and for many of my Saudi students it was a form of therapy. It is also a way to respect, search, examine and share the cultural traditions of different cultures, and of the students themselves. Art not only provides a field for ideas to keep aimless, meandering minds of students' busy but is also a productive tool to analyze English language in a new order. As an ESL teacher, using art is a highly compelling way to bridge the gap between student and teacher. It’s difficult to keep students concentrated, especially when they speak a different language. To get students to actually learn and explore something in your foreign language lesson, artwork is your best friend. Many teachers feel that through amalgamation of the arts into their academic lessons students are able to learn more profoundly because they use diverse ways of thinking and problem solving. Teachers observe that drawing often retains students who might otherwise be dispassionate and can help students move ahead simple recall when they are asked to make connections and come up with an exclusive interpretation through an artwork or drawing. Students use observation skills when they are drawing, and this can help to persuade students who might otherwise remain silent or need more time to process information. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=amalgamation%20of%20arts" title="amalgamation of arts">amalgamation of arts</a>, <a href="https://publications.waset.org/abstracts/search?q=expressing%20ideas%20and%20feelings%20through%20arts" title=" expressing ideas and feelings through arts"> expressing ideas and feelings through arts</a>, <a href="https://publications.waset.org/abstracts/search?q=effective%20way%20to%20achieve%20and%20implement%20language" title=" effective way to achieve and implement language"> effective way to achieve and implement language</a>, <a href="https://publications.waset.org/abstracts/search?q=language%20and%20art%20can%20supplement%20and%20correlate%20each%20other" title=" language and art can supplement and correlate each other"> language and art can supplement and correlate each other</a> </p> <a href="https://publications.waset.org/abstracts/29196/using-arts-in-esl-classroom" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/29196.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">359</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">42</span> זכור (Remember): An Analysis of Art as a Reflection of Sexual and Gendered Violence against Jewish Women during the Pogroms (1919-1920S) And the Nazi Era (1933-1943)</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Isabella%20B.%20Davidman">Isabella B. Davidman</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Violence used against Jewish women in both the Eastern European pogroms and during the Nazi era was specifically gendered, targeting their female identity and dignity of womanhood. Not only did these acts of gendered violence dehumanize Jewish women, but they also hurt the Jewish community as a whole. The devastating sexual violence that women endured during the pogroms and the Nazi era caused profound trauma. Out of shame and fear, silence about women’s experiences of sexual abuse manifests in forms that words cannot translate. Women have turned to art and other means of storytelling to convey their female experiences in visual and non-verbal ways. Therefore, this paper aims to address the historical accounts of gendered violence against Jewish women during the pogroms and Nazi era, as well as art that reflects upon the female experience, in order to understand the emotional impact resulting from these events. To analyze the artwork, a feminist analysis was used to understand the intersection of gender with the other systems of inequality, such as systemic anti-semitism, in women’s lives; this ultimately explained the ways in which cultural productions undermine and reinforce the political and social oppression of women by exploring how art confronts the exploitation of women's bodies. By analyzing the art in the context of specific acts of violence, such as public rape, as a strategic weapon, we are able to understand women’s experiences and how these experiences, in turn, challenged their womanhood. Additionally, these atrocities, which often occurred in the public space, were dismissed and forgotten due to the social stigma of rape. In this sense, the experiences of women in pogroms and the Nazi era were both highly unacknowledged and forgotten. Therefore, the art that was produced during those time periods, as well as those after those events, gives voice to the profound silence on the narratives of Jewish women. Sexual violence is a weapon of war used to cause physical and psychological destruction, not only as a product of war. In both the early twentieth-century pogroms and the Holocaust, the sexual violence that Jewish women endured was fundamentally the same: the rape of Jewish women became a focal target in the theater of violence– women were not raped because they were women, but specifically, because they were Jewish women. Although the events of the pogroms and the Holocaust are in the past, the art that serves as testimony to the experience of Jewish women remains an everlasting reminder of the gendered violence that occurred. Even though covert expressions, such as an embroidered image of a bird eating an apple, the artwork gives voice to the many silenced victims of sexualized and gendered violence. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=gendered%20violence" title="gendered violence">gendered violence</a>, <a href="https://publications.waset.org/abstracts/search?q=holocaust" title=" holocaust"> holocaust</a>, <a href="https://publications.waset.org/abstracts/search?q=Nazi%20era" title=" Nazi era"> Nazi era</a>, <a href="https://publications.waset.org/abstracts/search?q=pogroms" title=" pogroms"> pogroms</a> </p> <a href="https://publications.waset.org/abstracts/157416/remember-an-analysis-of-art-as-a-reflection-of-sexual-and-gendered-violence-against-jewish-women-during-the-pogroms-1919-1920s-and-the-nazi-era-1933-1943" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/157416.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">104</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">41</span> Popularization of the Communist Manifesto in 19th Century Europe</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Xuanyu%20Bai">Xuanyu Bai</a> </p> <p class="card-text"><strong>Abstract:</strong></p> “The Communist Manifesto”, written by Karl Marx and Friedrich Engels, is one of the most significant documents throughout the whole history which covers across different fields including Economic, Politic, Sociology and Philosophy. Instead of discussing the Communist ideas presented in the Communist Manifesto, the essay focuses on exploring the reasons that contributed to the popularization of the document and its influence on political revolutions in 19<sup>th</sup> century Europe by concentrating on the document itself along with other primary and secondary sources and temporal artwork. Combining the details from the Communist Manifesto and other documents, Marx’s writing style and word choice, his convincible notions about a new society dominated by proletariats, and the revolutionary idea of class destruction has led to the popularization of the Communist Manifesto and influenced the latter political revolutions. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=communist%20manifesto" title="communist manifesto">communist manifesto</a>, <a href="https://publications.waset.org/abstracts/search?q=Marx" title=" Marx"> Marx</a>, <a href="https://publications.waset.org/abstracts/search?q=Engels" title=" Engels"> Engels</a>, <a href="https://publications.waset.org/abstracts/search?q=capitalism" title=" capitalism"> capitalism</a> </p> <a href="https://publications.waset.org/abstracts/130387/popularization-of-the-communist-manifesto-in-19th-century-europe" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/130387.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">130</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">40</span> The Forensic Handwriting Analysis of a Painter’s Signature: Claude Monet’s Case</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Olivia%20Rybak-Karkosz">Olivia Rybak-Karkosz</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper's purpose was to present a case study on a questioned Claude Monet's signature forensic handwriting analysis. It is an example taken from the author’s experience as a court handwriting expert. A comparative study was conducted to determine whether the signature resembles similarities (and if so, to what measure) with the features representing the writing patterns and their natural variability typical for Claude Monet. It was conducted to check whether all writing features are within the writer's normal range of variation. The paper emphasizes the difficulties and challenges encountered by the forensic handwriting expert while analysing the questioned signature. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=artist%E2%80%99s%20signatures" title="artist’s signatures">artist’s signatures</a>, <a href="https://publications.waset.org/abstracts/search?q=authenticity%20of%20an%20artwork" title=" authenticity of an artwork"> authenticity of an artwork</a>, <a href="https://publications.waset.org/abstracts/search?q=forensic%20handwriting%20analysis" title=" forensic handwriting analysis"> forensic handwriting analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=graphic-comparative%20method" title=" graphic-comparative method"> graphic-comparative method</a> </p> <a href="https://publications.waset.org/abstracts/152843/the-forensic-handwriting-analysis-of-a-painters-signature-claude-monets-case" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/152843.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">114</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">39</span> Policy for Implementing Decolonial Practices, Equity, Inclusivity, and Diversity into Radical Democratic Informal Art Gallery Education</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kaida%20Kobylka">Kaida Kobylka</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Museum education policy can be developed through the lens of radical democracy and radically democratic relational aesthetics to provoke a more wholistic, agonistic, and utopian educational experiences that expand a viewer’s experiences and knowledge of artwork in a museum’s permanent collection to encourage a deeper understanding of art and the community of a museum’s connections to equity, diversity, inclusion, and decolonization. Practices used by the museum will create cohesive and engaging informal education that utilizes community-based, alternative knowledge and create dignity-safe spaces for viewers to engage critically with the visual objects. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=museum%20education" title="museum education">museum education</a>, <a href="https://publications.waset.org/abstracts/search?q=radical%20democracy" title=" radical democracy"> radical democracy</a>, <a href="https://publications.waset.org/abstracts/search?q=Canadian%20policy" title=" Canadian policy"> Canadian policy</a>, <a href="https://publications.waset.org/abstracts/search?q=community-based%20knowledge" title=" community-based knowledge"> community-based knowledge</a> </p> <a href="https://publications.waset.org/abstracts/167538/policy-for-implementing-decolonial-practices-equity-inclusivity-and-diversity-into-radical-democratic-informal-art-gallery-education" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/167538.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">70</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">38</span> Of Love and Isolation: Narratives of Siblings of Children with Cerebral Palsy in Sri Lanka </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shyamani%20Hettiarachchi">Shyamani Hettiarachchi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Aim: Siblings of children with cerebral palsy are often in the periphery of discussions; their views not always taken into account. The aim of this study was to uncover the narratives of young siblings of children with cerebral palsy in Sri Lanka. Methods: Semi-structured interviews and artwork were gathered from 10 children who have siblings diagnosed with cerebral palsy. The data was analyzed using the key principles of Framework Analysis to determine the key themes within the narratives. Results: The key themes to emerge were complex and nuanced. These included themes of love and feeling of protectiveness; jealousy and uncertainly; guilt and hope. Conclusions: The results highlight the need to take document the views of siblings who are often on the margins of the family and of family decisions and discussions. It also supports the need to offer safe spaces and opportunities for siblings of children with disabilities to express their feelings and to receive support where required. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=disability" title="disability">disability</a>, <a href="https://publications.waset.org/abstracts/search?q=grandmothers" title=" grandmothers"> grandmothers</a>, <a href="https://publications.waset.org/abstracts/search?q=mothers" title=" mothers"> mothers</a>, <a href="https://publications.waset.org/abstracts/search?q=narratives" title=" narratives"> narratives</a>, <a href="https://publications.waset.org/abstracts/search?q=women" title=" women"> women</a> </p> <a href="https://publications.waset.org/abstracts/41649/of-love-and-isolation-narratives-of-siblings-of-children-with-cerebral-palsy-in-sri-lanka" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/41649.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">284</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">37</span> Embracing Failure and Experimentation: A Journey through Artistic Residency</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hala%20Ali">Hala Ali</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the evolving landscape of contemporary art, the value of failure and experimentation plays a central role in reshaping artistic research. This paper explores an artistic residency where the focus shifted from traditional practices of ink on canvas to performance art using the human body as a medium of expression. This residency emphasized uncertainty, experimentation, and emotional expression as the core of the process. Through collaboration between a calligrapher and a visual artist, the performance engaged themes of seduction, silence, and the transition between reality and abstraction. In alignment with experimental art practices, the process itself became the artwork, embracing moments of failure and disruption as key components of creative exploration. This research integrates theories from neuroscience, psychology, and artistic failure, drawing on the insights of thinkers like John Cage, Samuel Beckett, and Cornelius Cardew to further contextualize the residency’s impact. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=embodied%20art" title="embodied art">embodied art</a>, <a href="https://publications.waset.org/abstracts/search?q=emotional%20communication" title=" emotional communication"> emotional communication</a>, <a href="https://publications.waset.org/abstracts/search?q=mindfulness%20in%20art" title=" mindfulness in art"> mindfulness in art</a>, <a href="https://publications.waset.org/abstracts/search?q=nonverbal%20communication" title=" nonverbal communication"> nonverbal communication</a>, <a href="https://publications.waset.org/abstracts/search?q=performance%20art" title=" performance art"> performance art</a> </p> <a href="https://publications.waset.org/abstracts/192388/embracing-failure-and-experimentation-a-journey-through-artistic-residency" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/192388.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">21</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">36</span> The Language of Art: Examining Emotional Expression in Drawings of Internally Displaced Persons and Town Students Amid Conflict</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Lugyi%20No">Lugyi No</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This research delves into how students from two different backgrounds in a conflict-affected area, one group being internally displaced (IDP) and the other residing in permanent homes, express their emotions through art. Two experiments were conducted involving guided drawing to understand their emotional experiences. In the first experiment, where no specific instructions were given, both groups mostly used dark and dull colors, which suggests feelings of sadness and anxiety. Positive emotions were rarely depicted. In the second experiment, students were asked to express their emotions and provide reasons for their drawings. Here, we observed distinct variations: IDP students leaned towards vibrant colors, reflecting resilience, while town students tended to use monochromatic shades, likely due to their experiences with conflict. This abstract highlights the differing emotional expressions of these groups and the influence of instructions on their artwork. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=art%20therapy" title="art therapy">art therapy</a>, <a href="https://publications.waset.org/abstracts/search?q=conflict-affected%20areas" title=" conflict-affected areas"> conflict-affected areas</a>, <a href="https://publications.waset.org/abstracts/search?q=education%20in%20conflict%20zones" title=" education in conflict zones"> education in conflict zones</a>, <a href="https://publications.waset.org/abstracts/search?q=children%27s%20drawings" title=" children's drawings"> children's drawings</a> </p> <a href="https://publications.waset.org/abstracts/175538/the-language-of-art-examining-emotional-expression-in-drawings-of-internally-displaced-persons-and-town-students-amid-conflict" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/175538.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">58</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">35</span> Migrant Women English Instructors' Transformative Workplace Learning Experiences in Post-Secondary English Language Programs in Ontario, Canada</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Justine%20Jun">Justine Jun</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study aims to reveal migrant women English instructors' workplace learning experiences in Canadian post-secondary institutions in Ontario. Although many scholars have conducted research studies on internationally educated teachers and their professional and employment challenges, few studies have recorded migrant women English language instructors’ professional learning and support experiences in post-secondary English language programs in Canada. This study employs a qualitative research paradigm. Mezirow’s Transformative Learning Theory is an essential lens for the researcher to explain, analyze, and interpret the research data. It is a collaborative research project. The researcher and participants cooperatively create photographic or other artwork data responding to the research questions. Photovoice and arts-informed data collection methodology are the main methods. Research participants engage in the study as co-researchers and inquire about their own workplace learning experiences, actively utilizing their critical self-reflective and dialogic skills. Co-researchers individually select the forms of artwork they prefer to engage with to represent their transformative workplace learning experiences about the Canadian workplace cultures that they underwent while working with colleagues and administrators in the workplace. Once the co-researchers generate their cultural artifacts as research data, they collaboratively interpret their artworks with the researcher and other volunteer co-researchers. Co-researchers jointly investigate the themes emerging from the artworks. They also interpret the meanings of their own and others’ workplace learning experiences embedded in the artworks through interactive one-on-one or group interviews. The following are the research questions that the migrant women English instructor participants examine and answer: (1) What have they learned about their workplace culture and how do they explain their learning experiences?; (2) How transformative have their learning experiences been at work?; (3) How have their colleagues and administrators influenced their transformative learning?; (4) What kind of support have they received? What supports have been valuable to them and what changes would they like to see?; (5) What have their learning experiences transformed?; (6) What has this arts-informed research process transformed? The study findings implicate English language instructor support currently practiced in post-secondary English language programs in Ontario, Canada, especially for migrant women English instructors. This research is a doctoral empirical study in progress. This research has the urgency to address the research problem that few studies have investigated migrant English instructors’ professional learning and support issues in the workplace, precisely that of English instructors working with adult learners in Canada. While appropriate social and professional support for migrant English instructors is required throughout the country, the present workplace realities in Ontario's English language programs need to be heard soon. For that purpose, the conceptualization of this study is crucial. It makes the investigation of under-represented instructors’ under-researched social phenomena, workplace learning and support, viable and rigorous. This paper demonstrates the robust theorization of English instructors’ workplace experiences using Mezirow’s Transformative Learning Theory in the English language teacher education field. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=English%20teacher%20education" title="English teacher education">English teacher education</a>, <a href="https://publications.waset.org/abstracts/search?q=professional%20learning" title=" professional learning"> professional learning</a>, <a href="https://publications.waset.org/abstracts/search?q=transformative%20learning%20theory" title=" transformative learning theory"> transformative learning theory</a>, <a href="https://publications.waset.org/abstracts/search?q=workplace%20learning" title=" workplace learning"> workplace learning</a> </p> <a href="https://publications.waset.org/abstracts/133434/migrant-women-english-instructors-transformative-workplace-learning-experiences-in-post-secondary-english-language-programs-in-ontario-canada" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/133434.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">129</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">34</span> Equality, Friendship, and Violence in Slash or Yaoi Fan Art</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Proud%20Arunrangsiwed">Proud Arunrangsiwed</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Slash or Yaoi fan art is the artwork that contains a homosexual relationship between fictional male characters, which were heterosexual in the original media. Previous belief about Slash or Yaoi fan art is that the fan fiction writers and the fan artists need to see the equality in romantic relationship. They do not prefer the pairing of man and woman, since both genders are not equal. The objectives of the current study are to confirm this belief, and to examine the relationship between equality found in Slash fan art, friendship in original media, and violence contained in fan art. Mean comparisons show that equality could be found in the pairing of hero and hero, but rarely found in the pairing of hero and villain. Regression analysis shows that the level of equality in fan art and friendship in original media are significant predictors of violence contained in fan art. Since villain-related pairings yield a high level of violence in fan art and a low level of equality, researchers of future studies should find the strategies to prevent fans to include villains in their Slash or Yaoi fan art. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=equality" title="equality">equality</a>, <a href="https://publications.waset.org/abstracts/search?q=fan%20art" title=" fan art"> fan art</a>, <a href="https://publications.waset.org/abstracts/search?q=slash" title=" slash"> slash</a>, <a href="https://publications.waset.org/abstracts/search?q=violence" title=" violence"> violence</a>, <a href="https://publications.waset.org/abstracts/search?q=yaoi" title=" yaoi"> yaoi</a> </p> <a href="https://publications.waset.org/abstracts/40603/equality-friendship-and-violence-in-slash-or-yaoi-fan-art" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/40603.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">253</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">33</span> Biofeedback-Driven Sound and Image Generation</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Claudio%20Burguez">Claudio Burguez</a>, <a href="https://publications.waset.org/abstracts/search?q=Mar%C3%ADa%20Castell%C3%B3"> María Castelló</a>, <a href="https://publications.waset.org/abstracts/search?q=Mikaela%20Pisani"> Mikaela Pisani</a>, <a href="https://publications.waset.org/abstracts/search?q=Marcos%20Umpi%C3%A9rrez"> Marcos Umpiérrez</a> </p> <p class="card-text"><strong>Abstract:</strong></p> BIOFEEDBACK exhibition offers a unique experience for each visitor, combining art, neuroscience, and technology in an interactive way. Using a headband that captures the bioelectric activity of the brain, the visitors are able to generate sound and images in a sequence loop, making them an integral part of the artwork. Through this interactive exhibit, visitors gain a deeper appreciation of the beauty and complexity of the brain. As a special takeaway, visitors will receive an NFT as a present, allowing them to continue their engagement with the exhibition beyond the physical space. We used the EEG Biofeedback technique following a closed-loop neuroscience approach, transforming EEG data captured by a Muse S headband in real-time into audiovisual stimulation. PureData is used for sound generation and Generative Adversarial Networks (GANs) for image generation. Thirty participants have experienced the exhibition. For some individuals, it was easier to focus than others. Participants who said they could focus during the exhibit stated that at one point, they felt that they could control the sound, while images were more abstract, and they did not feel that they were able to control them. <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=audiovisual" title=" audiovisual"> audiovisual</a>, <a href="https://publications.waset.org/abstracts/search?q=biofeedback" title=" biofeedback"> biofeedback</a>, <a href="https://publications.waset.org/abstracts/search?q=EEG" title=" EEG"> EEG</a>, <a href="https://publications.waset.org/abstracts/search?q=NFT" title=" NFT"> NFT</a>, <a href="https://publications.waset.org/abstracts/search?q=neuroscience" title=" neuroscience"> neuroscience</a>, <a href="https://publications.waset.org/abstracts/search?q=technology" title=" technology"> technology</a> </p> <a href="https://publications.waset.org/abstracts/161610/biofeedback-driven-sound-and-image-generation" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/161610.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">72</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">32</span> Exploring 3-D Virtual Art Spaces: Engaging Student Communities Through Feedback and Exhibitions</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Zena%20Tredinnick-Kirby">Zena Tredinnick-Kirby</a>, <a href="https://publications.waset.org/abstracts/search?q=Anna%20Divinsky"> Anna Divinsky</a>, <a href="https://publications.waset.org/abstracts/search?q=Brendan%20Berthold"> Brendan Berthold</a>, <a href="https://publications.waset.org/abstracts/search?q=Nicole%20Cingolani"> Nicole Cingolani</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Faculty members from The Pennsylvania State University, Zena Tredinnick-Kirby, Ph.D., and Anna Divinsky are at the forefront of an innovative educational approach to improve access in asynchronous online art courses. Their pioneering work weaves virtual reality (VR) technologies to construct a more equitable educational experience for students by transforming their learning and engagement. The significance of their study lies in the need to bridge the digital divide in online art courses, making them more inclusive and interactive for all distance learners. In an era where conventional classroom settings are no longer the sole means of instruction, Tredinnick-Kirby and Divinsky harness the power of instructional technologies to break down geographical barriers by incorporating an interactive VR experience that facilitates community building within an online environment transcending physical constraints. The methodology adopted by Tredinnick-Kirby, and Divinsky is centered around integrating 3D virtual spaces into their art courses. Spatial.io, a virtual world platform, enables students to develop digital avatars and engage in virtual art museums through a free browser-based program or an Oculus headset, where they can interact with other visitors and critique each other’s artwork. The goal is not only to provide students with an engaging and immersive learning experience but also to nourish them with a more profound understanding of the language of art criticism and technology. Furthermore, the study aims to cultivate critical thinking skills among students and foster a collaborative spirit. By leveraging cutting-edge VR technology, students are encouraged to explore the possibilities of their field, experimenting with innovative tools and techniques. This approach not only enriches their learning experience but also prepares them for a dynamic and ever-evolving art landscape in technology and education. One of the fundamental objectives of Tredinnick-Kirby and Divinsky is to remodel how feedback is derived through peer-to-peer art critique. Through the inclusion of 3D virtual spaces into the curriculum, students now have the opportunity to install their final artwork in a virtual gallery space and incorporate peer feedback, enabling students to exhibit their work opening the doors to a collaborative and interactive process. Students can provide constructive suggestions, engage in discussions, and integrate peer commentary into developing their ideas and praxis. This approach not only accelerates the learning process but also promotes a sense of community and growth. In summary, the study conducted by the Penn State faculty members Zena Tredinnick-Kirby, and Anna Divinsky represents innovative use of technology in their courses. By incorporating 3D virtual spaces, they are enriching the learners' experience. Through this inventive pedagogical technique, they nurture critical thinking, collaboration, and the practical application of cutting-edge technology in art. This research holds great promise for the future of online art education, transforming it into a dynamic, inclusive, and interactive experience that transcends the confines of distance learning. <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=community%20building" title=" community building"> community building</a>, <a href="https://publications.waset.org/abstracts/search?q=distance%20learning" title=" distance learning"> distance learning</a>, <a href="https://publications.waset.org/abstracts/search?q=virtual%20reality" title=" virtual reality"> virtual reality</a> </p> <a href="https://publications.waset.org/abstracts/175826/exploring-3-d-virtual-art-spaces-engaging-student-communities-through-feedback-and-exhibitions" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/175826.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">71</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">31</span> RE:SOUNDING a 2000-Year-Old Vietnamese Dong Son Bronze Drum; Artist-Led Collaborations outside the Museum to Challenge the Impasse of Repatriating and Rematriating Cultural Instruments</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=H.%20A.%20J.%20Nguyen">H. A. J. Nguyen</a>, <a href="https://publications.waset.org/abstracts/search?q=V.%20A.%20Pham"> V. A. Pham</a> </p> <p class="card-text"><strong>Abstract:</strong></p> RE:SOUNDING is an ongoing research project and artwork seeking to return the sound and knowledge of Dong Son bronze drums back to contemporary musicians. Colonial collections of ethnographic instruments are problematic in how they commit acts of conceptual, cultural, and acoustic silencing. The collection (or more honestly), the plagiarism, and pillaging of these instruments have systemically separated them from living and breathing cultures. This includes diasporic communities, who have come to resettle in close proximity - but still have little access - to the museums and galleries that display their cultural objects. Despite recent attempts to 'open up' and 'recognise' the tensions and violence of these ethnographic collections, many museums continue to structurally organize and reproduce knowledge with the same procedural distance and limitations of imperial condescension. Impatient with the slowness of these museums, our diaspora led collaborations participated in the opaque economy of the auction market to gain access and begin the process of digitally recording and archiving the actual sounds of the ancient Dong Son drum. This self-directed, self-initiated artwork not only acoustically reinvigorated an ancient instrument but redistributed these sonic materials back to contemporary musicians, composers, and their diasporic communities throughout Vietnam, South East Asia, and Australia. Our methodologies not only highlight the persistent inflexibility of museum infrastructures but demand that museums refrain from their paternalistic practice of risk-averse ownership, to seriously engage with new technologies and political formations that require all public institutions to be held accountable for the ethical and intellectual viability of their colonial collections. The integrated and practical resolve of diasporic artists and their communities are more than capable of working with new technologies to reclaim and reinvigorate what is culturally and spiritually theirs. The motivation to rematriate – as opposed to merely repatriate – the acoustic legacies of these instruments to contemporary musicians and artists is a new model for decolonial and restorative practices. Exposing the inadequacies of western scholarship that continues to treat these instruments as discreet, disembodied, and detached artifacts, these collaborative strategies have thus far produced a wealth of new knowledge – new to the west perhaps – but not that new to these, our own communities. This includes the little-acknowledged fact that the Dong Son drum were political instruments of war and technology, rather than their simplistic description in the museum and western academia as agrarian instruments of fertility and harvest. Through the collective and continued sharing of knowledge and sound materials produced from this research, these drums are gaining a contemporary relevance beyond the cultural silencing of the museum display cabinet. Acknowledgement: We acknowledge the Wurundjeri and Boon Wurrung of the Kulin Nation and the Gadigal of the Eora Nation where we began this project. We pay our respects to the Peoples, Lands, Traditional Custodians, Practices, and Creator Ancestors of these Great Nations, as well as those First Nations peoples throughout Australia, Vietnam, and Indonesia, where this research continues, and upon whose stolen lands and waterways were never ceded. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=acoustic%20archaeology" title="acoustic archaeology">acoustic archaeology</a>, <a href="https://publications.waset.org/abstracts/search?q=decolonisation" title=" decolonisation"> decolonisation</a>, <a href="https://publications.waset.org/abstracts/search?q=museum%20collections" title=" museum collections"> museum collections</a>, <a href="https://publications.waset.org/abstracts/search?q=rematriation" title=" rematriation"> rematriation</a>, <a href="https://publications.waset.org/abstracts/search?q=repatriation" title=" repatriation"> repatriation</a>, <a href="https://publications.waset.org/abstracts/search?q=Dong%20Son" title=" Dong Son"> Dong Son</a>, <a href="https://publications.waset.org/abstracts/search?q=experimental%20music" title=" experimental music"> experimental music</a>, <a href="https://publications.waset.org/abstracts/search?q=digital%20recording" title=" digital recording"> digital recording</a> </p> <a href="https://publications.waset.org/abstracts/130988/resounding-a-2000-year-old-vietnamese-dong-son-bronze-drum-artist-led-collaborations-outside-the-museum-to-challenge-the-impasse-of-repatriating-and-rematriating-cultural-instruments" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/130988.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">151</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">30</span> Meditation Based Brain Painting Promotes Foreign Language Memory through Establishing a Brain-Computer Interface</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Zhepeng%20Rui">Zhepeng Rui</a>, <a href="https://publications.waset.org/abstracts/search?q=Zhenyu%20Gu"> Zhenyu Gu</a>, <a href="https://publications.waset.org/abstracts/search?q=Caitilin%20de%20B%C3%A9rigny"> Caitilin de Bérigny</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the current study, we designed an interactive meditation and brain painting application to cultivate users’ creativity, promote meditation, reduce stress, and improve cognition while attempting to learn a foreign language. User tests and data analyses were conducted on 42 male and 42 female participants to better understand sex-associated psychological and aesthetic differences. Our method utilized brain-computer interfaces to import meditation and attention data to create artwork in meditation-based applications. Female participants showed statistically significantly different language learning outcomes following three meditation paradigms. The art style of brain painting helped females with language memory. Our results suggest that the most ideal methods for promoting memory attention were meditation methods and brain painting exercises contributing to language learning, memory concentration promotion, and foreign word memorization. We conclude that a short period of meditation practice can help in learning a foreign language. These findings provide new insights into meditation, creative language education, brain-computer interface, and human-computer interactions. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=brain-computer%20interface" title="brain-computer interface">brain-computer interface</a>, <a href="https://publications.waset.org/abstracts/search?q=creative%20thinking" title=" creative thinking"> creative thinking</a>, <a href="https://publications.waset.org/abstracts/search?q=meditation" title=" meditation"> meditation</a>, <a href="https://publications.waset.org/abstracts/search?q=mental%20health" title=" mental health"> mental health</a> </p> <a href="https://publications.waset.org/abstracts/147651/meditation-based-brain-painting-promotes-foreign-language-memory-through-establishing-a-brain-computer-interface" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/147651.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">127</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">29</span> Modular, Responsive, and Interactive Green Walls - A Case Study</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Flaviu%20Mihai%20Frigura-Lliasa">Flaviu Mihai Frigura-Lliasa</a>, <a href="https://publications.waset.org/abstracts/search?q=Andreea%20Anamaria%20Anghel"> Andreea Anamaria Anghel</a>, <a href="https://publications.waset.org/abstracts/search?q=Attila%20Simo"> Attila Simo</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Due to the beauty, usefulness, science, constantly changing, constantly evolving features, and most of the time, mystery it involves, nature-based art is seen as a both modern and timeless direction that has been extensively used in design. The goal of the team's activities was to experiment with ways of fusing the two most common contemporary ways of referring to green installations, that is, either in a pure artistic or in an ecological manner, and creating a living, dynamic, interactive installation capable of both receiving and interpreting external factors, such as natural and human stimuli, that would not only determine some of the mechanism's presets. By consequent, a complex experiment made up of various research and project stages was elaborated in order to transform an idea into an actual interactive green installation within months thanks to the interaction, teamwork, and design processes undertaken throughout the academic years by both university lecturers and some of our students. The outcomes would lead to the development of a dynamic artwork called "Modgrew" as well as the introduction of experiment-based learning at the Timisoara Faculty of Architecture and Urban Planning, as well as at the Faculty of Electrical and Power Engineering, for the green wall automation issues. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=green%20design" title="green design">green design</a>, <a href="https://publications.waset.org/abstracts/search?q=living%20walls" title=" living walls"> living walls</a>, <a href="https://publications.waset.org/abstracts/search?q=modular%20structure" title=" modular structure"> modular structure</a>, <a href="https://publications.waset.org/abstracts/search?q=interactive%20proof%20of%20concept" title=" interactive proof of concept"> interactive proof of concept</a> </p> <a href="https://publications.waset.org/abstracts/166969/modular-responsive-and-interactive-green-walls-a-case-study" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/166969.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">76</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">28</span> Leveraging NFT Secure and Decentralized Lending: A Defi Solution</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chandan%20M.%20S.">Chandan M. S.</a>, <a href="https://publications.waset.org/abstracts/search?q=Darshan%20G.%20A."> Darshan G. A.</a>, <a href="https://publications.waset.org/abstracts/search?q=Vyshnavi"> Vyshnavi</a>, <a href="https://publications.waset.org/abstracts/search?q=Abhishek%20T."> Abhishek T.</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the evolving world of technology and digital assets, non-fungible tokens (NFTs) have emerged as the latest advancement. These digital assets represent ownership of intangible items and hold significant value. Unlike cryptocurrencies, like Ethereum or Bitcoin, NFTs cannot be exchanged due to their nature. Each NFT has an indivisible value. NFTs not only pave the way for financial services but also open up fresh opportunities for creators, buyers and artists. To revolutionize financing in the DeFi space, this proposed approach utilizes NFTs generated from digital arts. By eliminating intermediaries, this innovative method ensures trust and security in transactions. The idea entails automating borrower-lender interactions through contracts while securely storing data using blockchain technology. Borrowers can obtain funding by leveraging assets such as estate, artwork and collectibles that are often illiquid. The key component of this system is contracts that independently execute lending agreements and collateral transfers within predefined parameters. By leveraging the Ethereum blockchain, this project aims to provide consumers with access to a platform offering a wide range of financial services. The demonstration illustrates how NFT lending and borrowing is managed through contracts, providing a secure and trustworthy transaction environment. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=blockchain" title="blockchain">blockchain</a>, <a href="https://publications.waset.org/abstracts/search?q=defi" title=" defi"> defi</a>, <a href="https://publications.waset.org/abstracts/search?q=NFT" title=" NFT"> NFT</a>, <a href="https://publications.waset.org/abstracts/search?q=ethereum" title=" ethereum"> ethereum</a>, <a href="https://publications.waset.org/abstracts/search?q=marketplace" title=" marketplace"> marketplace</a> </p> <a href="https://publications.waset.org/abstracts/184211/leveraging-nft-secure-and-decentralized-lending-a-defi-solution" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/184211.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">53</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">27</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> <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=artwork&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=artwork&page=2" rel="next">&rsaquo;</a></li> </ul> </div> </main> <footer> <div id="infolinks" class="pt-3 pb-2"> <div class="container"> <div style="background-color:#f5f5f5;" class="p-3"> <div class="row"> <div class="col-md-2"> <ul class="list-unstyled"> About <li><a 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