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exhibition</title> <meta name="description" content="Search results for: mural exhibition"> <meta name="keywords" content="mural exhibition"> <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 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action="https://publications.waset.org/abstracts/search"> <div id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="mural exhibition"> <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> 117</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: mural exhibition</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">117</span> Mural Exhibition as a Promotive Strategy to Proper Hygiene and Sanitation Practices among Children: A Case Study from Urban Slum Schools in Nairobi, Kenya</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Abdulaziz%20Kikanga">Abdulaziz Kikanga</a>, <a href="https://publications.waset.org/abstracts/search?q=Kellen%20Muchira"> Kellen Muchira</a>, <a href="https://publications.waset.org/abstracts/search?q=Styvers%20Kathuni"> Styvers Kathuni</a>, <a href="https://publications.waset.org/abstracts/search?q=Paul%20Saitoti"> Paul Saitoti</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Background: Provision of adequate levels of water, sanitation, and hygiene in schools is a strategic objective in achieving universal primary education among children in low and middle-income countries. However, lack of proper sanitation and hygiene practices in schools, especially those in informal settlement has resulted to an increased rate of school absenteeism thereby affecting the education and health outcomes of the children in those setting. Intervention or Response: Catholic Relief Services in Kenya supports five schools in informal settlements of Nairobi by painting of key hygiene messages on school walls to promote proper hygiene and sanitation practices among the school children. The mural exhibitions depict the essence of proper hygiene practices, proper latrine use, and hand washing after visiting the latrine. The artwork is context specific and its aimed at improving the uptake of proper hygiene and sanitation practices among the school children. Review of project related documents was conducted including interviews with the school children. Thematic analysis was used to interpret the qualitative information generated. Results and Lessons Learnt: 12 school children have interviewed on proper hygiene and sanitation practices and the exercise revealed that painted murals were the best communication platforms for creating awareness on proper sanitation on issues relating to water, sanitation, and hygiene in schools. The painting mural provided a strong knowledge base for the formation of healthy habits in both the school and informal settlement. In addition, these sanitation messages on the school walls empower the children to share these practices with their siblings, parents, and other family members thereby acting as agents of change to proper hygiene and sanitation in those informal settlements. The findings revealed that by adopting proper sanitation and hygiene practices, there has been a reduction of school absenteeism due to a decrease in disease related to inadequate sanitation and hygiene in schools. Conclusion: The adoption of proper sanitation in schools entails more than just a painted mural wall. Insights revealed that to have a lasting sanitation and hygiene intervention, there is a need to invest in effective hygiene educational programming that encourages the formation of proper hygiene habits and promotes changes in behavior. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=education%20outcomes" title="education outcomes">education outcomes</a>, <a href="https://publications.waset.org/abstracts/search?q=informal%20settlement" title=" informal settlement"> informal settlement</a>, <a href="https://publications.waset.org/abstracts/search?q=mural%20exhibition" title=" mural exhibition"> mural exhibition</a>, <a href="https://publications.waset.org/abstracts/search?q=school%20hygiene%20and%20sanitation" title=" school hygiene and sanitation"> school hygiene and sanitation</a> </p> <a href="https://publications.waset.org/abstracts/79917/mural-exhibition-as-a-promotive-strategy-to-proper-hygiene-and-sanitation-practices-among-children-a-case-study-from-urban-slum-schools-in-nairobi-kenya" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/79917.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">254</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">116</span> Modes of Seeing in Interactive Exhibitions: A Study on How Technology Can Affect the Viewer and Transform the Exhibition Spaces</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Renata%20P.%20Lopes">Renata P. Lopes</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The current art exhibit scenario presents a multitude of visualization features deployed in experiences that instigate a process of art production and design. The exhibition design through multimedia devices - from the audiovisual to the touch screen - has become a medium from which art can be understood and contemplated. Artistic practices articulated, during the modern period, the spectator's perception in the exhibition space, often challenging the architecture of museums and galleries. In turn, the museum institution seeks to respond to the challenge of welcoming the viewer whose experience is mediated by technological artifacts. When the beholder, together with the technology, interacts with the exhibition space, important displacements happen. In this work, we will analyze the migrations of the exhibition space to the digital environment through mobile devices triggered by the viewer. Based not on technological determinism, but on the conditions of the appearance of this spectator, this work is developed, with the aim of apprehending the way in which technology demarcates the differences between what the spectator was and what becomes in the contemporary atmosphere of the museums and galleries. These notions, we believe, will contribute to the formation of an exhibition design space in conformity with this participant. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=exhibition" title="exhibition">exhibition</a>, <a href="https://publications.waset.org/abstracts/search?q=museum" title=" museum"> museum</a>, <a href="https://publications.waset.org/abstracts/search?q=exhibition%20design" title=" exhibition design"> exhibition design</a>, <a href="https://publications.waset.org/abstracts/search?q=digital%20media" title=" digital media"> digital media</a> </p> <a href="https://publications.waset.org/abstracts/96231/modes-of-seeing-in-interactive-exhibitions-a-study-on-how-technology-can-affect-the-viewer-and-transform-the-exhibition-spaces" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/96231.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">137</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">115</span> Conserving History: Evaluating and Selecting Effective Restoration Methods for a Fragment Mural Painting from Amarna</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kholod%20Khairy%20Salama">Kholod Khairy Salama</a>, <a href="https://publications.waset.org/abstracts/search?q=Shabban%20Hassan%20Thabet"> Shabban Hassan Thabet</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the present study, a comprehensive investigation has been undertaken into an Egyptian mural painting with feet wear slippers approach to choose the most successful restoration methods. The mural painting under examination dates back to the Amarna period; it was detached from a wall of an unknown tomb in Egypt, and currently, it is initially displayed in a showcase at the Egyptian Museum – Tahrir Square – Cairo, Egypt. The main objectives of this research were to (a) reveal the pigment used in the mural painting, (b) reveal the medium used with colours, (c) determine the technique of manufacturing, (e) determine the ground support, and (f) reveal the main deterioration aspects. The analytical techniques used for investigation were Optical Microscopy, Raman, X-ray Florescence, X-ray diffraction, and Fourier transform infrared coupled with attenuated total reflectance “FTIR-ATR”. The investigation revealed that the vital deterioration factors affecting the object. This research aims to examine and analyze the mural painting to choose the suitable method for the restoration process (a) define the colours through comparative analysis to choose the suitable material for cleaning, (b) define the natural structure of the ground support layer, which appeared as mud layer (c) determine the medium used with colours (d) diagnosis the presence of the white wash layer, and (e) choose the suitable restoration methods according to the results. Conclusion: This study focused mainly on the physical and chemical properties of the mural painting compound and the main changes that happened to the mural painting material, which caused deterioration and fall down of the painting parts, so we can find the best and optimum restoration ways for this object. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=mural%20paintings" title="mural paintings">mural paintings</a>, <a href="https://publications.waset.org/abstracts/search?q=Tal%20Al-Amarna" title=" Tal Al-Amarna"> Tal Al-Amarna</a>, <a href="https://publications.waset.org/abstracts/search?q=digital%20microscope" title=" digital microscope"> digital microscope</a>, <a href="https://publications.waset.org/abstracts/search?q=Raman" title=" Raman"> Raman</a>, <a href="https://publications.waset.org/abstracts/search?q=XRF" title=" XRF"> XRF</a>, <a href="https://publications.waset.org/abstracts/search?q=XRD" title=" XRD"> XRD</a>, <a href="https://publications.waset.org/abstracts/search?q=FTIR" title=" FTIR"> FTIR</a> </p> <a href="https://publications.waset.org/abstracts/174944/conserving-history-evaluating-and-selecting-effective-restoration-methods-for-a-fragment-mural-painting-from-amarna" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/174944.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">114</span> National Identity in Connecting the Community through Mural Art for Petronas Dagangan Berhad</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nadiah%20Mohamad">Nadiah Mohamad</a>, <a href="https://publications.waset.org/abstracts/search?q=Wan%20Samiati%20Andriana%20Wan%20Mohd%20Daud"> Wan Samiati Andriana Wan Mohd Daud</a>, <a href="https://publications.waset.org/abstracts/search?q=M.%20Suhaimi%20Tohid"> M. Suhaimi Tohid</a>, <a href="https://publications.waset.org/abstracts/search?q=Mohd%20Fazli%20Othman"> Mohd Fazli Othman</a>, <a href="https://publications.waset.org/abstracts/search?q=Mohamad%20Rizal%20Salleh"> Mohamad Rizal Salleh</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This is a collaborative project of the mural art between The Department of Fine Art from Universiti Teknologi MARA (UiTM) and Petronas Dagangan Berhad (PDB), the most leading retailer and marketer of downstream oil and gas products in Malaysia. Five different states in the Peninsular of Malaysia that has been identified in showcasing the National Identity of Malaysia at each Petronas gas station, this also includes the Air Keroh in Melaka, Pasir Pekan in Kelantan, Pontian in Johor, Simpang Pulai in Perak, and also Wakaf Bharu in Terengganu. This project is to analyze the element of national identity that has been demonstrated at the Petronas's Mural. The ultimate aim of the mural is to let the community and local people to be aware about what Malaysians are consists and proud of and how everyone is able to connect with the idea through visual art. The method that is being explained in this research is by using visual data through research and also self-experience in collecting the visual data in identifying what images is considered as the national identity and idea development and visual analysis is being transferred based upon the visual data collection. In this stage, elements and principles of design will be the key in highlighting what is necessary for a work of art. In conclusion, visual image of the National Identity of Malaysia is able to connect to the audience from local and also to the people from outside the country to learn and understand the beauty and diversity of Malaysia as a unique country with art through the wall of five Petronas gas station. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=community" title="community">community</a>, <a href="https://publications.waset.org/abstracts/search?q=fine%20art" title=" fine art"> fine art</a>, <a href="https://publications.waset.org/abstracts/search?q=mural%20art" title=" mural art"> mural art</a>, <a href="https://publications.waset.org/abstracts/search?q=national%20identity" title=" national identity"> national identity</a> </p> <a href="https://publications.waset.org/abstracts/124086/national-identity-in-connecting-the-community-through-mural-art-for-petronas-dagangan-berhad" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/124086.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">207</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">113</span> Effects of Exhibition Firms' Resource Investment Behavior on Their Booth Staffs' Role Perceptions, Goal Acceptance and Work Effort during the Exhibition Period</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Po-Chien%20Li">Po-Chien Li</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Despite the extant literature has hosted a wide-range of knowledge about trade shows, this knowledge base deserves to be further expanded and extended because there exist many unclear issues and overlooked topics. One area that needs much research attention is regarding the behavior and performance of booth workers at the exhibition site. Booth staffs play many key roles in interacting with booth visitors. Their exhibiting-related attitudes and motivations might have significant consequences on a firm’s exhibition results. However, to date, little research, if any, has studied how booth workers are affected and behave in the context of trade fair. The primary purpose of the current study is to develop and test a research model, derived from role theory and resource-based viewpoint, that depicts the effects of a firm’s pre-exhibition resource investment behavior on booth staff’s role perceptions and work behavior during the exhibition period. The author collects data with two survey questionnaires at two trade shows in 2016. One questionnaire is given to the booth head of an exhibiting company, asking about the firm’s resource commitment behavior prior to the exhibition period. In contrast, another questionnaire is provided for a booth worker of the same firm, requesting the individual staff to report his/her own role perceptions, degree of exhibition goal acceptance, and level of work effort during the exhibition period. The study has utilized the following analytic methods, including descriptive statistics, exploratory factor analysis, reliability analysis, and regression analysis. The results of a set of regression analyses show that a firm’s pre-exhibition resource investment behavior has significant effects on a booth staff’s exhibiting perceptions and attitudes. Specifically, an exhibitor’s resource investment behavior has impacts on the factors of booth staff’s role clarity and role conflict. In addition, a booth worker’s role clarity is related to the degree of exhibition goal acceptance, but his/her role conflict is not. Finally, a booth worker’s exhibiting effort is significantly related to the individual’s role clarity, role conflict and goal acceptance. In general, the major contribution of the current research is that it offers insight into and early evidence on the links between an exhibiting firm’s resource commitment behavior and the work perceptions and attitudes of booth staffs during the exhibition period. The current research’s results can benefit the extant literature of exhibition marketing. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=exhibition%20resource%20investment" title="exhibition resource investment">exhibition resource investment</a>, <a href="https://publications.waset.org/abstracts/search?q=role%20perceptions" title=" role perceptions"> role perceptions</a>, <a href="https://publications.waset.org/abstracts/search?q=goal%20acceptance" title=" goal acceptance"> goal acceptance</a>, <a href="https://publications.waset.org/abstracts/search?q=work%20effort" title=" work effort"> work effort</a> </p> <a href="https://publications.waset.org/abstracts/63972/effects-of-exhibition-firms-resource-investment-behavior-on-their-booth-staffs-role-perceptions-goal-acceptance-and-work-effort-during-the-exhibition-period" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/63972.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">217</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">112</span> The Image of Saddam Hussein and Collective Memory: The Semiotics of Ba'ath Regime's Mural in Iraq (1980-2003)</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Maryam%20Pirdehghan">Maryam Pirdehghan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> During the Ba'ath Party's rule in Iraq, propaganda was utilized to justify and to promote Saddam Hussein's image in the collective memory as the greatest Arab leader. Consequently, urban walls were routinely covered with images of Saddam. Relying on these images, the regime aimed to provide a basis for evoking meanings in the public opinion, which would supposedly strengthen Saddam’s power and reconstruct facts to legitimize his political ideology. Nonetheless, Saddam was not always portrayed with common and explicit elements but in certain periods of his rule, the paintings depicted him in an unusual context, where various historical and contemporary elements were combined in a narrative background. Therefore, an understanding of the implied socio-political references of these elements is required to fully elucidate the impact of these images on forming the memory and collective unconscious of the Iraqi people. To obtain such understanding, one needs to address the following questions: a) How Saddam Hussein is portrayed in mural during his rule? b) What of elements and mythical-historical narratives are found in the paintings? c) Which Saddam's political views were subject to the collective memory through mural? Employing visual semiotics, this study reveals that during Saddam Hussein's regime, the paintings were initially simple portraits but gradually transformed into narrative images, characterized by a complex network of historical, mythical and religious elements. These elements demonstrate the transformation of a secular-nationalist politician into a Muslim ruler who tried to instill three major policies in domestic and international relations i.e. the arabization of Iraq, as well as the propagation of pan-arabism ideology (first period), the implementation of anti-Israel policy (second period) and the implementation of anti-American-British policy (last period). <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ba%27ath%20Party" title="Ba'ath Party">Ba'ath Party</a>, <a href="https://publications.waset.org/abstracts/search?q=Saddam%20Hussein" title=" Saddam Hussein"> Saddam Hussein</a>, <a href="https://publications.waset.org/abstracts/search?q=mural" title=" mural"> mural</a>, <a href="https://publications.waset.org/abstracts/search?q=Iraq" title=" Iraq"> Iraq</a>, <a href="https://publications.waset.org/abstracts/search?q=propaganda" title=" propaganda"> propaganda</a>, <a href="https://publications.waset.org/abstracts/search?q=collective%20memory" title=" collective memory"> collective memory</a> </p> <a href="https://publications.waset.org/abstracts/76678/the-image-of-saddam-hussein-and-collective-memory-the-semiotics-of-baath-regimes-mural-in-iraq-1980-2003" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/76678.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">326</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">111</span> Urban Art as an Identity Branding of Kampong Ketandan Surabaya</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=R.%20A.%20Retno%20Hastijanti">R. A. Retno Hastijanti</a>, <a href="https://publications.waset.org/abstracts/search?q=David%20Agus%20Sagita"> David Agus Sagita</a>, <a href="https://publications.waset.org/abstracts/search?q=Arum%20Lintang%20Cahyani"> Arum Lintang Cahyani</a>, <a href="https://publications.waset.org/abstracts/search?q=Tectona%20Radike"> Tectona Radike</a>, <a href="https://publications.waset.org/abstracts/search?q=Andreas%20Suluh%20Putra"> Andreas Suluh Putra</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Surabaya, is one of the oldest cities in Indonesia. Most of the old quarter city of Surabaya is an ancient Kampong. Ketandan is one ancient Kampong in the center of Surabaya, surrounded by a thriving trade area. These conditions make Kampong vulnerably degraded of environmental quality and tended to lose their cultural identity. Norms and values eroded by the rapid development of its local surroundings. Through Kampong conservation programs, Surabaya city government established Ketandan as one of the urban heritage. To achieve the ideal condition of urban heritage, public participation is required. One thing that can generate a motivation for Kampong Ketandan community participation is to rediscover the identity of Kampong Ketandan. This research aims to explore the appropriate method to rediscover the identity of Kampong Ketandan. Through qualitative research methods, based on observations and focus group discussions, it was concluded that mural mentoring program was the best method that can be accepted by the Kampong community to rediscover their identity. Mural as one of the urban art form, able to motivate Kampong community to express their self and bring an icon to their Kampong. The benefits of this research are to provide input to the city government and the private sector to preserve urban heritage, moreover, to transform an urban heritage into a productive space in urban areas in order to enhance city revenues. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kampong" title="Kampong">Kampong</a>, <a href="https://publications.waset.org/abstracts/search?q=Kampong%20Ketandan" title=" Kampong Ketandan"> Kampong Ketandan</a>, <a href="https://publications.waset.org/abstracts/search?q=mural" title=" mural"> mural</a>, <a href="https://publications.waset.org/abstracts/search?q=Surabaya" title=" Surabaya"> Surabaya</a>, <a href="https://publications.waset.org/abstracts/search?q=urban" title=" urban"> urban</a>, <a href="https://publications.waset.org/abstracts/search?q=urban%20heritage" title=" urban heritage"> urban heritage</a>, <a href="https://publications.waset.org/abstracts/search?q=urban%20art" title=" urban art"> urban art</a> </p> <a href="https://publications.waset.org/abstracts/65678/urban-art-as-an-identity-branding-of-kampong-ketandan-surabaya" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/65678.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">332</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">110</span> Short-Term Operation Planning for Energy Management of Exhibition Hall</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yooncheol%20Lee">Yooncheol Lee</a>, <a href="https://publications.waset.org/abstracts/search?q=Jeongmin%20Kim"> Jeongmin Kim</a>, <a href="https://publications.waset.org/abstracts/search?q=Kwang%20Ryel%20Ryu"> Kwang Ryel Ryu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper deals with the establishment of a short-term operational plan for an air conditioner for efficient energy management of exhibition hall. The short-term operational plan is composed of a time series of operational schedules, which we have searched using genetic algorithms. Establishing operational schedule should be considered the future trends of the variables affecting the exhibition hall environment. To reflect continuously changing factors such as external temperature and occupant, short-term operational plans should be updated in real time. But it takes too much time to evaluate a short-term operational plan using EnergyPlus, a building emulation tool. For that reason, it is difficult to update the operational plan in real time. To evaluate the short-term operational plan, we designed prediction models based on machine learning with fast evaluation speed. This model, which was created by learning the past operational data, is accurate and fast. The collection of operational data and the verification of operational plans were made using EnergyPlus. Experimental results show that the proposed method can save energy compared to the reactive control method. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=exhibition%20hall" title="exhibition hall">exhibition hall</a>, <a href="https://publications.waset.org/abstracts/search?q=energy%20management" title=" energy management"> energy management</a>, <a href="https://publications.waset.org/abstracts/search?q=predictive%20model" title=" predictive model"> predictive model</a>, <a href="https://publications.waset.org/abstracts/search?q=simulation-based%20optimization" title=" simulation-based optimization"> simulation-based optimization</a> </p> <a href="https://publications.waset.org/abstracts/82946/short-term-operation-planning-for-energy-management-of-exhibition-hall" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/82946.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">339</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">109</span> Exploring the Cultural Significance of Mural Paintings in the Tombs of Gilan, Iran: Evaluation of Drawn Figures</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Zeinab%20Mirabulqasemi">Zeinab Mirabulqasemi</a>, <a href="https://publications.waset.org/abstracts/search?q=Gholamali%20Hatam"> Gholamali Hatam</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This article discusses the significance of mural paintings in Iranian culture, particularly within the context of religious tombs known as Imamzadehs. These tombs, dedicated to Shiite imams and other revered religious figures, serve as important religious and communal spaces. The tradition of tomb construction evolved from early Islamic practices, gradually transforming burial sites into places of worship. In the Gilan region of Iran, these tombs hold a revered status, serving as focal points for religious observances and social gatherings. The murals adorning these tombs often depict religious motifs, with a particular emphasis on events like the Day of Judgment and the martyrdom of the Imams, notably the saga of Ashura. These paintings also reflect the community's social perspectives and historical allegiances. Various architectural styles are employed in constructing these tombs, including Islamic, traditional, local, and aesthetic architecture. However, the region's climate poses challenges to the preservation of these structures and their murals. Despite these challenges, efforts are made to document and preserve these artworks to ensure their accessibility for future generations. This research also studies tomb paintings by adopting a multifaceted approach, including library research, image analysis, and field research. Finally, it examines the portrayal of significant figures such as the Shiite imams, prophets, and Imamzadehs within these murals, highlighting their thematic significance and cultural importance. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cultural%20ritual" title="cultural ritual">cultural ritual</a>, <a href="https://publications.waset.org/abstracts/search?q=Shiite%20imams" title=" Shiite imams"> Shiite imams</a>, <a href="https://publications.waset.org/abstracts/search?q=mural" title=" mural"> mural</a>, <a href="https://publications.waset.org/abstracts/search?q=belief%20foundations" title=" belief foundations"> belief foundations</a>, <a href="https://publications.waset.org/abstracts/search?q=religious%20paintings" title=" religious paintings"> religious paintings</a> </p> <a href="https://publications.waset.org/abstracts/184218/exploring-the-cultural-significance-of-mural-paintings-in-the-tombs-of-gilan-iran-evaluation-of-drawn-figures" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/184218.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">55</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">108</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">107</span> Preservation of Artistic Heritage: Effect of Modernization on Antiquities and Traditional Murals in Nigeria</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Uchenna%20Bella%20Onu">Uchenna Bella Onu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Traditional art is one of Nigerian cultural heritage. It is an excellent instrument for documentation and identification. Antiquities are priceless and irreplaceable. They are basically preserved for future generations. Sadly, preserving these highly prized cultural heritage is becoming a serious challenge. This paper examines the extent modernization has affected the preservation of traditional art in Nigeria. Particularly hit is the antiquities and traditional murals of eastern part of Nigeria. Participatory visual methods were used for this study. Efforts were made to reach the few surviving and aged mural artists. Oral information was collected from them as well as first hand drawings and some photographs of their works. Findings indicate that modernization has seriously affected the preservation of Nigerian artistic heritage. Further findings show that traditional mural artists are gradually dwindling and dangerously going into extinct. Antiquities are indiscriminately destroyed due to sheer ignorance and the blind quest to fit into the so called modern world.   <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=antiquities" title="antiquities">antiquities</a>, <a href="https://publications.waset.org/abstracts/search?q=artistic%20heritage" title=" artistic heritage"> artistic heritage</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20preservation" title=" cultural preservation"> cultural preservation</a>, <a href="https://publications.waset.org/abstracts/search?q=drawings" title=" drawings"> drawings</a>, <a href="https://publications.waset.org/abstracts/search?q=modernization" title=" modernization"> modernization</a>, <a href="https://publications.waset.org/abstracts/search?q=murals" title=" murals"> murals</a> </p> <a href="https://publications.waset.org/abstracts/49019/preservation-of-artistic-heritage-effect-of-modernization-on-antiquities-and-traditional-murals-in-nigeria" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/49019.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">171</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">106</span> Learning Predictive Models for Efficient Energy Management of Exhibition Hall</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jeongmin%20Kim">Jeongmin Kim</a>, <a href="https://publications.waset.org/abstracts/search?q=Eunju%20Lee"> Eunju Lee</a>, <a href="https://publications.waset.org/abstracts/search?q=Kwang%20Ryel%20Ryu"> Kwang Ryel Ryu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper addresses the problem of predictive control for energy management of large-scaled exhibition halls, where a lot of energy is consumed to maintain internal atmosphere under certain required conditions. Predictive control achieves better energy efficiency by optimizing the operation of air-conditioning facilities with not only the current but also some future status taken into account. In this paper, we propose to use predictive models learned from past sensor data of hall environment, for use in optimizing the operating plan for the air-conditioning facilities by simulating future environmental change. We have implemented an emulator of an exhibition hall by using EnergyPlus, a widely used building energy emulation tool, to collect data for learning environment-change models. Experimental results show that the learned models predict future change highly accurately on a short-term basis. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=predictive%20control" title="predictive control">predictive control</a>, <a href="https://publications.waset.org/abstracts/search?q=energy%20management" title=" energy management"> energy management</a>, <a href="https://publications.waset.org/abstracts/search?q=machine%20learning" title=" machine learning"> machine learning</a>, <a href="https://publications.waset.org/abstracts/search?q=optimization" title=" optimization"> optimization</a> </p> <a href="https://publications.waset.org/abstracts/59405/learning-predictive-models-for-efficient-energy-management-of-exhibition-hall" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/59405.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">274</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">105</span> Differential Diagnosis of an Asymptomatic Lesion in Contact with the Bladder</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Angelis%20P.%20Barlampas">Angelis P. Barlampas</a> </p> <p class="card-text"><strong>Abstract:</strong></p> PURPOSE: Presentation of an interesting finding in an asymptomatic patient. MATERIAL: A patient came at hospital because of dysuric complaints and after a urologist’s prescription of a US exam of the urogenital system. The simple ultrasound examination of the lower abdomen revealed a moderate hypertrophy of the prostate and a solitary large bladder stone. The kidneys were normal. Then, the patient underwent a CT scan, which depicted the bladder stone and, as an incidental finding, a cystic lesion in contact with the upper anterior right surface of the bladder, with mural calcifications. METHOD: Abdominal ultrasound and abdominal computed tomography before and after intravenous contrast administration. RESULTS: The repeated US exam showed a cylindrical cystic lesion with a double wall and two mural hyperechoic foci, with partial posterior shadowing. Blood flow was not recognized on color doppler. The CT exam confirmed the cystic-like anechoic lesion, in the right iliac fossa, with the presence of two foci of mural calcifications. The differential diagnosis includes cases of enteric cyst, intestinal duplication cyst, chronic abscess, urachal cyst, Meckel's diverticulum, bladder diverticulum, old hematoma, thrombosed vascular aneurysm, diverticular abscess, etc. The patient refused surgical removal and is being monitored by ultrasound. CONCLUSIONS: The careful examination of the wider peri-abdominal area, especially during the routine ultrasound examination, can contribute to the identification of important asymptomatic findings. The radiologist must not be solely focused in a certain area of examination, even if the clinical doctor asks so, but should give attention to the neighboring areas, too. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=enteric%20cyst" title="enteric cyst">enteric cyst</a>, <a href="https://publications.waset.org/abstracts/search?q=US" title=" US"> US</a>, <a href="https://publications.waset.org/abstracts/search?q=CT" title=" CT"> CT</a>, <a href="https://publications.waset.org/abstracts/search?q=urogenital%20tract" title=" urogenital tract"> urogenital tract</a>, <a href="https://publications.waset.org/abstracts/search?q=miscellaneous%20findings" title=" miscellaneous findings"> miscellaneous findings</a> </p> <a href="https://publications.waset.org/abstracts/170430/differential-diagnosis-of-an-asymptomatic-lesion-in-contact-with-the-bladder" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/170430.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">56</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">104</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">103</span> Exploring the Symbolic Depictions of Animals and Mythical Creatures in Gilan Tomb Wall Paintings</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Zeinab%20Mirabulqasemi">Zeinab Mirabulqasemi</a>, <a href="https://publications.waset.org/abstracts/search?q=Gholamali%20Hatam"> Gholamali Hatam</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The article discusses the rich tradition of mural art in Gilan, Iran, particularly focusing on its religious and cultural significance, with a specific emphasis on tombs and Imamzadehs (descendants of imams). It examines the presence of animals and supernatural beings in these murals, such as horses, lions, birds, snakes, and angels, each carrying symbolic meanings within the religious narratives depicted. It discusses the multifaceted symbolism of these creatures and their portrayal in various scenes, enriching the narrative and conveying spiritual themes. Moreover, the article delves into the geographical and cultural context of the Gilan region, where many of these murals are found, and the challenges posed by environmental factors on their preservation. The article concludes by emphasizing the importance of preserving these artworks as valuable cultural heritage and calls for further research into their social, religious, and artistic dimensions. It utilizes a multifaceted research approach involving library research, image analysis, field investigations, and interviews with local inhabitants to gain a deeper understanding of the significance of these murals. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cultural%20ritual" title="cultural ritual">cultural ritual</a>, <a href="https://publications.waset.org/abstracts/search?q=Shiite%20imams" title=" Shiite imams"> Shiite imams</a>, <a href="https://publications.waset.org/abstracts/search?q=mural" title=" mural"> mural</a>, <a href="https://publications.waset.org/abstracts/search?q=belief%20foundations" title=" belief foundations"> belief foundations</a>, <a href="https://publications.waset.org/abstracts/search?q=religious%20paintings" title=" religious paintings"> religious paintings</a> </p> <a href="https://publications.waset.org/abstracts/184300/exploring-the-symbolic-depictions-of-animals-and-mythical-creatures-in-gilan-tomb-wall-paintings" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/184300.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">75</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">102</span> Post Disaster Community Support with Family Manga Exhibition as a Tool for Intervention and Outreach: Reflection on the past Five Years from a Narrative Perspective</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kuniko%20Muramoto">Kuniko Muramoto</a>, <a href="https://publications.waset.org/abstracts/search?q=Tadashi%20Nakamura"> Tadashi Nakamura</a>, <a href="https://publications.waset.org/abstracts/search?q=Shiro%20Dan"> Shiro Dan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> On March 11, 2011 the Great East Japan Disaster caused widespread damage. In the aftermath, we searched for ways to provide long-term support and enhanced resilience to affected areas, arriving at the Family Manga Exhibition: an art collection portraying family life. It became a tool for community outreach and intervention, and we implemented support programs by collaborating with local support agencies. This 10-year project has been touring through four prefectures in Tohoku since the disaster struck, bearing witness to the effects of disaster and recovery alike. At this five-year mark, we use a narrative perspective to present our findings and reflect on post-disaster community support. It is important to note that the exhibition’s art does not directly depict the disaster; it portrays stories of anonymous families instead. They stimulate viewers’ memories and remind them of their own family stories. We analyzed viewers' oral and written responses to the exhibition and discovered that family manga as an art form enhances the viewer’s sense of connection to people close to them. We also discovered that the viewers gained more universal perspective on their own situations by viewing the exhibition. Manga, we found, offered a certain safety by enabling the viewers to control how they would interact with the exhibition's content and themes. In addition, the purpose of the project was for us to become witnesses of the disaster and recovery. Supporters of the project became active listeners, functioning as interactive agents who helped forming stories. Voices of the story tellers and the listeners layered upon each other and, as a result, converged into brand new narratives. The essence of traumatic experience is ‘the sense of overwhelming powerlessness and isolation’. When we redefine trauma as ‘broken relationships’, we can say that ‘enhancing relationships’ and ‘weaving relationships’ are what strengthen our resilience. This project used narrative as a modality to fortify the resilience of people involved by enhancing the social capital of bonding, bridging, and linking. The manga exhibition functioned as a tool to achieve this end, suggesting that similar applications are possible. Programs we held in-between manga exhibitions also served to enhance narratives of resiliency in the regions. However, we will save that story for another time. We hope to continue collecting the precious and polyphonic voices of people to present as stories born out of the Great East Japan Disaster. This effort extends beyond the immediately affected area by helping us prepare our resilience for future disasters. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=community" title="community">community</a>, <a href="https://publications.waset.org/abstracts/search?q=manga" title=" manga"> manga</a>, <a href="https://publications.waset.org/abstracts/search?q=narrative" title=" narrative"> narrative</a>, <a href="https://publications.waset.org/abstracts/search?q=resilience" title=" resilience"> resilience</a> </p> <a href="https://publications.waset.org/abstracts/58640/post-disaster-community-support-with-family-manga-exhibition-as-a-tool-for-intervention-and-outreach-reflection-on-the-past-five-years-from-a-narrative-perspective" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/58640.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">224</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">101</span> Different Levels of Mixed Reality: Mixed Reality as a Tool to Change the Visitor's Experience in the Museum</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hector%20Valverde%20Mart%C3%ADnez">Hector Valverde Martínez</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In this text, the application possibilities of developments in MR are explored as an element within the museographic space that affects the visitor-museum relationship to satisfy the needs of knowledge and recreation that visitors have to improve the experience. The emphasis points out the way in which it is thinking from the digital to understand the possibilities in the design of museum experiences, and are analyzed the strategies used inside and outside the museum space are exemplified from the use of MR and their impact on the visitors' experience to reach different levels of depth of knowledge in an exhibition; the exploration of limits in the creation of atmospheres that allow visitors to feel immersed in a completely different reality from the one they live to better understand the topics addressed in the exhibition, and strategies that are used to encourage museum audiences to actively participate and extend the experience of the museum beyond its walls. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=mixed%20realities" title="mixed realities">mixed realities</a>, <a href="https://publications.waset.org/abstracts/search?q=experience" title=" experience"> experience</a>, <a href="https://publications.waset.org/abstracts/search?q=visitor" title=" visitor"> visitor</a>, <a href="https://publications.waset.org/abstracts/search?q=museums" title=" museums"> museums</a> </p> <a href="https://publications.waset.org/abstracts/131779/different-levels-of-mixed-reality-mixed-reality-as-a-tool-to-change-the-visitors-experience-in-the-museum" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/131779.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">185</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">100</span> Content Creation as Performance</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=D.%20van%20der%20Merwe">D. van der Merwe</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Walter Benjamin observed a marked difference in test performances versus final performances, with special regard to film and the cinema setting versus the stage as the site of performance, exhibition, and consumption. The attention given to film is justifiable and valid given its position as the best example of media convergence of Benjamin’s era, that of late modernity. In contemporary terms, however, the film has been supplanted by content as the prime example of convergence at work, and the digital domain, materialized in the form of the mobile internet, as the substituted site for the cinema. By examining the performance of the polymediated self within social media content, this paper hopes to establish the practice of content creation as a cultural artefact evidencing exhibition value on par with -or at least comparable with- performance art. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=content%20creation" title="content creation">content creation</a>, <a href="https://publications.waset.org/abstracts/search?q=convergence" title=" convergence"> convergence</a>, <a href="https://publications.waset.org/abstracts/search?q=stage%20performance" title=" stage performance"> stage performance</a>, <a href="https://publications.waset.org/abstracts/search?q=test%20performance" title=" test performance"> test performance</a>, <a href="https://publications.waset.org/abstracts/search?q=polymediation" title=" polymediation"> polymediation</a>, <a href="https://publications.waset.org/abstracts/search?q=Walter%20Benjamin" title=" Walter Benjamin"> Walter Benjamin</a> </p> <a href="https://publications.waset.org/abstracts/193880/content-creation-as-performance" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/193880.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">10</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">99</span> Research the Counseling of Taichung Taiwan's 10 Creative Zones</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Feng%20Shih-Jen">Feng Shih-Jen</a>, <a href="https://publications.waset.org/abstracts/search?q=Chiang%20Yi-Hua"> Chiang Yi-Hua</a>, <a href="https://publications.waset.org/abstracts/search?q=Yang%20Min-Chih"> Yang Min-Chih</a> </p> <p class="card-text"><strong>Abstract:</strong></p> After going through mass production and contract manufacturing phases, under the global consumption trend, Taiwan’s traditional industry has turned to creative design, research and development to gain recognition in the consumer market, build competitiveness in the global market and further promote the products from Taiwan’s traditional industry. Taichung City is rich in cultural creative resources, outperforming other counties/cities in originality, creative talents, cultural taste, art/culture participation and global marketing. As the result this has created a diversified and vibrant cultural market in Taichung, giving Taichung the highest potential as a cultural creative city. This research, through the project by Taichung Cultural Creative Industry Promotion Office, has built an exchange platform for the cultural creative industry in central Taiwan. The platform will promote exchanges of creative ideas in the cultural creative industry in Taiwan as well as industrial transformation and brings more value for the industry. This study also proposes the idea of “Taichung Cultural Creative Exhibition” Therefore, this study was conducted in Taiwan, Taichung 10 Creative Zone Exhibition, which is divided into four stages counseling. Respectively, of the first order: the cultural creative Zone specialty shops offer; The second stage is the industrial settlement discussions and counseling workshops in the ground; The third stage of consultation for the recruitment of the cultural creative businesses separate estate; The fourth stage is the story of the build cultural and creative industry. Hope through periodic counseling, handling Taichung 10 Creative Zone Exhibition. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cultural%20creative%20industry" title="cultural creative industry">cultural creative industry</a>, <a href="https://publications.waset.org/abstracts/search?q=counseling" title=" counseling"> counseling</a>, <a href="https://publications.waset.org/abstracts/search?q=Taichung" title=" Taichung"> Taichung</a>, <a href="https://publications.waset.org/abstracts/search?q=Taiwan%27s%20creative%20zones" title=" Taiwan's creative zones "> Taiwan's creative zones </a> </p> <a href="https://publications.waset.org/abstracts/20564/research-the-counseling-of-taichung-taiwans-10-creative-zones" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/20564.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">498</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">98</span> Effects of Sports Participation on Academics Performance of Students at Yaa Asantewaa Girls’ Senior High School</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Alhassan%20Dramani%20Yakubu">Alhassan Dramani Yakubu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The primary purpose of this study was to analyze effects that participating in sporting activities has on academic performance among students at Yaa Asantewaa Girls’ Senior High School. To dig out the main objective of the study, descriptive survey design was employed. The study used 45 respondents comprising of 25 student – athletes and 20 non-student – athletes. The purposive sampling and stratified random sampling technique were used to sample population of 455 students involved. The academic performance of sports participants is compared with those of non – participants in terms of their outcomes in the form of grades from mathematics. Data was obtained from the sample by the use of questionnaire which was self - administered. The questionnaire sought information on level of student’s participation in sports and importance of sports participation to students. Results revealed that participation in sporting activities is associated with higher grades among students. The analysis reinforces the idea that apart from their health benefits for participants, sporting activities lead to the attainment of the performance goals to which higher institutions aspire. The findings also implies that, mathematics teachers and other subject teachers should not fend off students from participating in sporting activities with the trepidation that participating in sports inflame academic performance. This study recommend that, educational programs about sports should be provided for students’ through the educational system to bring about positive academic performance. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=physical%20activity" title="physical activity">physical activity</a>, <a href="https://publications.waset.org/abstracts/search?q=physical%20education" title=" physical education"> physical education</a>, <a href="https://publications.waset.org/abstracts/search?q=intra%20mural" title=" intra mural"> intra mural</a>, <a href="https://publications.waset.org/abstracts/search?q=extra%20mural" title=" extra mural"> extra mural</a> </p> <a href="https://publications.waset.org/abstracts/182543/effects-of-sports-participation-on-academics-performance-of-students-at-yaa-asantewaa-girls-senior-high-school" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/182543.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">62</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">97</span> Prediction-Based Midterm Operation Planning for Energy Management of Exhibition Hall</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Doseong%20Eom">Doseong Eom</a>, <a href="https://publications.waset.org/abstracts/search?q=Jeongmin%20Kim"> Jeongmin Kim</a>, <a href="https://publications.waset.org/abstracts/search?q=Kwang%20Ryel%20Ryu"> Kwang Ryel Ryu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Large exhibition halls require a lot of energy to maintain comfortable atmosphere for the visitors viewing inside. One way of reducing the energy cost is to have thermal energy storage systems installed so that the thermal energy can be stored in the middle of night when the energy price is low and then used later when the price is high. To minimize the overall energy cost, however, we should be able to decide how much energy to save during which time period exactly. If we can foresee future energy load and the corresponding cost, we will be able to make such decisions reasonably. In this paper, we use machine learning technique to obtain models for predicting weather conditions and the number of visitors on hourly basis for the next day. Based on the energy load thus predicted, we build a cost-optimal daily operation plan for the thermal energy storage systems and cooling and heating facilities through simulation-based optimization. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=building%20energy%20management" title="building energy management">building energy management</a>, <a href="https://publications.waset.org/abstracts/search?q=machine%20learning" title=" machine learning"> machine learning</a>, <a href="https://publications.waset.org/abstracts/search?q=operation%20planning" title=" operation planning"> operation planning</a>, <a href="https://publications.waset.org/abstracts/search?q=simulation-based%20optimization" title=" simulation-based optimization"> simulation-based optimization</a> </p> <a href="https://publications.waset.org/abstracts/59410/prediction-based-midterm-operation-planning-for-energy-management-of-exhibition-hall" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/59410.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">322</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">96</span> Using Electronic Books to Enhance the Museum Visitors' Experience</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Elvin%20Karaaslan%20Klose">Elvin Karaaslan Klose</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Museums are important sites of informal, often semi-structured and self-paced learning. Challenged by digital alternatives and increased expectations from their visitors, museums have to adapt to the digital age by enriching their collection and educational content with additional options for interactivity. One such option lies in the concept of the electronic book, which can be used either on dedicated devices or downloaded by visitors before entering the exhibition area. These electronic books serve as an alternative or supplement to the classic audio guide and provide visitors with information about artifacts as well as background stories and factoids about the subjects of the exhibition. Bringing such interactive elements into the museum experience has been shown to increase information retention and enjoyment among young aged visitors and adults. This article aims to bring together both theoretical frameworks and practical examples of how interactive media in the form of electronic books can be used to enhance the experience of the museum visitor. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=electronic%20books" title="electronic books">electronic books</a>, <a href="https://publications.waset.org/abstracts/search?q=interactive%20media" title=" interactive media"> interactive media</a>, <a href="https://publications.waset.org/abstracts/search?q=arts%20education" title=" arts education"> arts education</a>, <a href="https://publications.waset.org/abstracts/search?q=museum%20education" title=" museum education"> museum education</a> </p> <a href="https://publications.waset.org/abstracts/49035/using-electronic-books-to-enhance-the-museum-visitors-experience" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/49035.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">213</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">95</span> Anatomy of the Human Mitral Valve Leaflets: Implications for Transcatheter and Surgical Mitral Valve Repair Techniques</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Agata%20Krawczyk-Ozog">Agata Krawczyk-Ozog</a>, <a href="https://publications.waset.org/abstracts/search?q=Mateusz%20K.%20Holda"> Mateusz K. Holda</a>, <a href="https://publications.waset.org/abstracts/search?q=Mateusz%20Koziej"> Mateusz Koziej</a>, <a href="https://publications.waset.org/abstracts/search?q=Danuta%20Sorysz"> Danuta Sorysz</a>, <a href="https://publications.waset.org/abstracts/search?q=Zbigniew%20Siudak"> Zbigniew Siudak</a>, <a href="https://publications.waset.org/abstracts/search?q=Wieslawa%20Klimek-Piotrowska"> Wieslawa Klimek-Piotrowska</a>, <a href="https://publications.waset.org/abstracts/search?q=Dariusz%20Dudek"> Dariusz Dudek</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Introduction: Rapid development of the surgical and less-invasive percutaneous mitral valve repair procedures greatly increase the interest of the mitral valve anatomy. The aim of this study was to characterize morphological variability of the mitral valve leaflets and to provide the size of their particular parts. Materials and Methods: In the study, we included 200 autopsied human hearts from Caucasian individuals (25% females) with mean age 47.5 (±17.9) without any valvular diseases. The morphology of the mitral valve was evaluated. The intercommissural and aorto-mural diameters of the mitral annulus were measured. All leaflets and their scallops were identified. The base and the height of the posteromedial commissure (PM-C), anterolateral commissure (AL-C), anterior leaflet (AL) and posterior leaflet (PL) with their scallops were measured. Results: The intercommissural diameter was 28.0±4.8 mm, the aorto-mural diameter 19.7±4.8 mm, circumference of the mitral annulus 89.9±12.6 mm and the area of the mitral valve 485.4±171.4 mm2. Classical mitral valves (AL+AL-C+PL(P1,P2,P3)+PM-C) were found in 141 (70.5%) specimens. In classical type, the mean AL base and height were 30.8±4.9 mm and 20.6±4.2 mm, while mean PL base and height 45.1±8.2 mm 12.9±2.8 mm respectively. The mean ratio of the AL base to PL base was 0.7±0.2. Variations in PL were found in 55 (27.5%) and in AL in 5 (2.5%) hearts. The most common variations were: valve with one accessory scallop (AcS) between P3 and PM-C (7%); AcS between P1 and AL-C (4%); connections of P2 and P3 scallops (4%); connections of P1 and P2 scallops (3%); AcS in AL (2.5%). All AcS were smaller than the main PL scallops. The mean intertrigonal distance was 21.9±3.8 mm. Conclusions: In all cases, the mitral valve is built by two main leaflets with possible variants in secondary to leaflets scallops (29.5%). The variations are largely associated with PL and are mostly related to the presence of AcS. Anatomically the AL is not divided into scallops, and it occupies 34.5% of the mitral annulus circumference. Understanding the anatomy of the mitral valve leaflets helps to planning and performing mitral valve repair procedures. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=accessory%20scallop" title="accessory scallop">accessory scallop</a>, <a href="https://publications.waset.org/abstracts/search?q=commissure" title=" commissure"> commissure</a>, <a href="https://publications.waset.org/abstracts/search?q=connected%20%20scallops" title=" connected scallops"> connected scallops</a>, <a href="https://publications.waset.org/abstracts/search?q=human%20heart" title=" human heart"> human heart</a>, <a href="https://publications.waset.org/abstracts/search?q=mitral%20leaflets" title=" mitral leaflets"> mitral leaflets</a>, <a href="https://publications.waset.org/abstracts/search?q=mitral%20valve" title=" mitral valve"> mitral valve</a> </p> <a href="https://publications.waset.org/abstracts/65755/anatomy-of-the-human-mitral-valve-leaflets-implications-for-transcatheter-and-surgical-mitral-valve-repair-techniques" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/65755.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">389</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">94</span> Origins: An Interpretive History of MMA Design Studio’s Exhibition for the 2023 Venice Biennale</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jonathan%20A.%20Noble">Jonathan A. Noble</a> </p> <p class="card-text"><strong>Abstract:</strong></p> ‘Origins’ is an exhibition designed and installed by MMA Design Studio, at the 2023 Venice Biennale. The instillation formed part of the ‘Dangerous Liaisons’ group exhibition at the Arsenale building. An immersive experience was created for those who visited, where video projection and the bodies of visitors interacted with the scene. Designed by South African architect, Mphethi Morojele – founder and owner of MMA – the primary inspiration for ‘Origins’ was the recent discovery by Professor Karim Sadr in 2019, of a substantial Tswana settlement. Situated in present day Suikerbosrand Nature Reserve, some 45km south of Johannesburg, this precolonial city named Kweneng, has been dated back to the fifteenth century. This remarkable discovery was achieved thanks to advanced aerial, LiDAR scanning technology, which was used to capture the traces of Kweneng, spanning a terrain of some 10km long and 2km wide. Discovered by light (LiDAR) and exhibited through light, Origins presents a simulated experience of Kweneng. The presentation of Kweneng was achieved primarily though video, with a circular projection onto the floor of an animated LiDAR data sequence, and onto the walls a filmed dance sequence choreographed to embody the architectural, spatial and symbolic significance of Kweneng. This paper documents the design process that was involved in the conceptualization, development and final realization of this noteworthy exhibition, with an elucidation upon key social and cultural questions pertaining to precolonial heritage, reimagined histories and postcolonial identity. Periods of change and of social awakening sometimes spark an interest in questions of origin, of cultural lineage and belonging – and which certainly is the case for contemporary, post-Apartheid South Africa. Researching this paper has required primary study of MMA Design Studio’s project archive, including various proposals and other design related documents, conceptual design sketches, architectural drawings and photographs. This material is supported by the authors first-hand interviews with Morejele and others who were involved, especially with respect to the choreography of the interpretive dance, LiDAR visualization techniques and video production that informed the simulated, immersive experience at the exhibition. Presenting a ‘dangerous liaison’ between architecture and dance, Origins looks into the distant past to frame contemporary questions pertaining to intangible heritage, animism and embodiment through architecture and dance – considerations which are required “to survive the future”, says Morojele. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=architecture%20and%20dance" title="architecture and dance">architecture and dance</a>, <a href="https://publications.waset.org/abstracts/search?q=Kweneng" title=" Kweneng"> Kweneng</a>, <a href="https://publications.waset.org/abstracts/search?q=MMA%20design%20studio" title=" MMA design studio"> MMA design studio</a>, <a href="https://publications.waset.org/abstracts/search?q=origins" title=" origins"> origins</a>, <a href="https://publications.waset.org/abstracts/search?q=Venice%20Biennale" title=" Venice Biennale"> Venice Biennale</a> </p> <a href="https://publications.waset.org/abstracts/174636/origins-an-interpretive-history-of-mma-design-studios-exhibition-for-the-2023-venice-biennale" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/174636.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">88</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">93</span> Aesthetic Embodiment of the Visual and/or Non-Visual: the Becoming of a Spatial Installation Exhibition Influenced by Shamanic Healing</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ningfei%20Xiao">Ningfei Xiao</a>, <a href="https://publications.waset.org/abstracts/search?q=Simon%20Twose"> Simon Twose</a>, <a href="https://publications.waset.org/abstracts/search?q=Hannah%20Hopewell"> Hannah Hopewell</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In urban settings worldwide, artists and researchers have drawn from shamanic healing, providing insightful responses to the environment. This project is a transdisciplinary creative research project where architecture and art practice draw from shamanic healing and provide the potential to expand knowledge of public space and inspire more aesthetic explorations of public spatial visions. The research started from the encounters with the Ewengki/Evenki shaman tribe in settlement areas of northern China in 2019 and extended through the partnerships with Maori artists in Poneke Aotearoa, New Zealand, in 2023. Based on the learnings and collaborations with female indigenous tradition practitioners and the healing that the researcher received from the land, a spatial installation exhibition was developed in this project. Indigenous practices are intricately woven with contemporary technology, merging visuals, soundscapes, and other non-visual aesthetics influenced by the researcher's personal experiences of embodied shamanic healing with brainwave generative technology. This synthesis seeks to ritualize and reimagine future public spaces, encompassing streetscapes and greenscapes from China to Aotearoa, and fostering connections between urbanized human body, mind, spirit, and land. In doing so, the project presents a feminist posthuman inquiry into how individuals perceive materiality within the context of a future city. Grounded in creative research and embodied methodologies, this paper focuses on the conceptual and autoethnographic aspects of visual-non-visual aesthetics and their creative representation. Through the exploration of aesthetics beyond the visual realm within urban and spatial contexts, this project showcases the spatial installation exhibition as an example of shamanic influence and related response to public space through embodied artistry and transdisciplinary creative inquiry. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=aesthetic" title="aesthetic">aesthetic</a>, <a href="https://publications.waset.org/abstracts/search?q=embodiment" title=" embodiment"> embodiment</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20and%2For%20non-visual" title=" visual and/or non-visual"> visual and/or non-visual</a>, <a href="https://publications.waset.org/abstracts/search?q=spatial%20installation" title=" spatial installation"> spatial installation</a>, <a href="https://publications.waset.org/abstracts/search?q=shamanic%20healing" title=" shamanic healing"> shamanic healing</a>, <a href="https://publications.waset.org/abstracts/search?q=public%20space" title=" public space"> public space</a> </p> <a href="https://publications.waset.org/abstracts/184619/aesthetic-embodiment-of-the-visual-andor-non-visual-the-becoming-of-a-spatial-installation-exhibition-influenced-by-shamanic-healing" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/184619.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">59</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">92</span> Temporospatial Mediator: Site-Specific Theatre within Cultural Heritages</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ching-Pin%20Tseng">Ching-Pin Tseng</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Cultural heritages are tangible and intangible catalysts for recollecting collective memories and cultural signification. Through visiting the heritage and with the aid of exhibition and visual indications, the visitor may visually and spatially grasp some fragments of the stories and occurrences of the site. However, there may be some discrepancies between the narration of historical happenings that occurred at the place and the spatial exhibition of the historic monument. Narratives of collective events may not be revealed merely by physical relics or objects. In order to build up a connection between the past and the present, the paper thus intends to discuss what means can engender vitalizations within cultural heritages. As the preservation of cultural heritages has been a universal consensus and common interests, its association with modern lives has also been an important issue. The paper will explore some site-specific theatres held in the art festivals in the south of Taiwan so as to examine the correlation between site-specific performances and the conservation of historic monuments. In the light of Victor Hugo’s argument that the place where events happened before can be silent characters for representing the reality of art and for impressing the spectator, this paper argues that site-specific theatres may bring vitality into tangible cultural heritages. At the end of this paper, the notion of localization will be utilized to examine the spatial setting and the materiality of scenic design in relation to the site-specific theatres within cultural heritages. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=site-specificity" title="site-specificity">site-specificity</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20heritage" title=" cultural heritage"> cultural heritage</a>, <a href="https://publications.waset.org/abstracts/search?q=localization" title=" localization"> localization</a>, <a href="https://publications.waset.org/abstracts/search?q=materiality" title=" materiality"> materiality</a> </p> <a href="https://publications.waset.org/abstracts/132576/temporospatial-mediator-site-specific-theatre-within-cultural-heritages" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/132576.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">124</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">91</span> Loud Silence: A Situation Analysis of Youth Living with Hearing Impairment in Uganda</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Wandera%20Stephen%20Ojumbo">Wandera Stephen Ojumbo</a> </p> <p class="card-text"><strong>Abstract:</strong></p> People living with hearing impairment in Uganda are one of the most excluded minority groups in the country. The Uganda National Association of the Deaf estimates that deaf people make up 3.4% of Uganda’s 43 million people. Deaf Children and youth often appear withdrawn because they face social stigma. In 2009, photojournalist Stephen Wandera Ojumbo conducted an exhibition in Kampala titled “Silent Voices with colourful Hearts” showcasing the life of deaf children at Uganda School for the Deaf, Ntinda, in order to create awareness of their plight, raising funds for the construction of a vocational centre for the deaf that didn’t continue their education due to: lack of funds, non-inclusive educational institutions, and for those who cannot read and write. These children, whose lives were exhibited in 2009, are currently youths. In Uganda, there are just five primary schools for the deaf (three of these are located in Kampala, the capital city), and barely five secondary schools for the deaf. At the moment, some deaf children only receive special needs training equivalent to primary seven levels and the majority don’t make it to secondary school education level due to the fact that English is a second language to them. There is a communication gap between speaking parents and deaf children, which leads to the breakage of family bonds. The deaf youth run away from their homes to form a community where they can communicate freely. Likewise, employment opportunities for the deaf are equally very limited. It’s for this reason that a follow-up photo exhibition was conducted to expose more about what the youthful deaf people and their guardians go through in Uganda to get jobs, live and fit in the community, how they communicate and get understood, bonding with families instead of running away to bond with fellow deaf persons. The photo exhibition under the theme “Loud Silence” was significant in showcasing the ability of deaf youths in Uganda and eliciting solutions to make a more inclusive society for the deaf. It is hoped that partners in development will join in for intervention. The methodology used included individual interviews with the deaf youth and their parents and caretakers; photography at household and community levels; document review at organizations working with the deaf; observations; and key informant interviews with relevant personnel working with the deaf. Some of the major findings include: i) Effective sign language communication is key in deaf education, family bonding, and developing a sense of belonging; ii) Love and intimacy can keep the deaf bound together; iii) Education is important; everybody should struggle even if alone; iv) Games and sports are a unifying factor and most loved among the deaf; and v) better communication skills build confidence in deaf youth. In conclusion, concerted efforts are still needed to make Uganda schools more inclusive for deaf persons. This will enable a secure future for deaf youths. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=deaf" title="deaf">deaf</a>, <a href="https://publications.waset.org/abstracts/search?q=education" title=" education"> education</a>, <a href="https://publications.waset.org/abstracts/search?q=excluded" title=" excluded"> excluded</a>, <a href="https://publications.waset.org/abstracts/search?q=photo%20exhibition" title=" photo exhibition"> photo exhibition</a> </p> <a href="https://publications.waset.org/abstracts/173075/loud-silence-a-situation-analysis-of-youth-living-with-hearing-impairment-in-uganda" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/173075.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">88</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">90</span> Cultural Consciousness in an Art Museum: A Case Study of Museum of Modern and Contemporary Art in Nusantara in Indonesia</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Pin-Hua%20Chou">Pin-Hua Chou</a> </p> <p class="card-text"><strong>Abstract:</strong></p> MACAN (Museum of Modern and Contemporary Art in Nusantara) is a new private art museum in Jakarta, Indonesia. Facing challenges of rapidly changing social, cultural environments, MACAN is responding by devoting themselves to not only presenting famous international artists but also constructing the context of artists from Indonesia by interdisciplinary education and cultural exchange. This paper discusses the exhibitions, collections and the activities of MACAN. The purpose of this museum is to make people aware of the dialogue between local and international artist, and also Indonesia’s own art history. Yet how they build up the cultural consciousness for their audience inside and outside Indonesia? What strategy or method do they adapt to enhance general understanding of their own history and the relation between Indonesia and the world through their exhibition? MACAN has tried to convey their mission by every action they took since its opening (2017). The discussion begins with the premise that the initiative of MACAN offers us a new vision to better understand how a modern and contemporary art museum can make an effort to connect art with cultural identity and stimulate the awareness of recognition in Indonesia. This paper will adopt a case study, curator interview, and document analysis. Last but not least, the paper seeks to contribute towards the narrative of its first exhibition Art Turns, World Turns, Exploring the collection of the MACAN, as well as the possibility of raising audience’s cultural consciousness by a variety of public programs. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=contemporary%20art%20museum" title="contemporary art museum">contemporary art museum</a>, <a href="https://publications.waset.org/abstracts/search?q=challenges%20for%20art%20museum%20curators%20today" title=" challenges for art museum curators today"> challenges for art museum curators today</a>, <a href="https://publications.waset.org/abstracts/search?q=culture%20heritage" title=" culture heritage"> culture heritage</a>, <a href="https://publications.waset.org/abstracts/search?q=museum%20collections%20and%20exhibitions" title=" museum collections and exhibitions"> museum collections and exhibitions</a> </p> <a href="https://publications.waset.org/abstracts/95615/cultural-consciousness-in-an-art-museum-a-case-study-of-museum-of-modern-and-contemporary-art-in-nusantara-in-indonesia" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/95615.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">198</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">89</span> The Home as Memory Palace: Three Case Studies of Artistic Representations of the Relationship between Individual and Collective Memory and the Home</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Laura%20M.%20F.%20Bertens">Laura M. F. Bertens</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The houses we inhabit are important containers of memory. As homes, they take on meaning for those who live inside, and memories of family life become intimately tied up with rooms, windows, and gardens. Each new family creates a new layer of meaning, resulting in a palimpsest of family memory. These houses function quite literally as memory palaces, as a walk through a childhood home will show; each room conjures up images of past events. Over time, these personal memories become woven together with the cultural memory of countries and generations. The importance of the home is a central theme in art, and several contemporary artists have a special interest in the relationship between memory and the home. This paper analyses three case studies in order to get a deeper understanding of the ways in which the home functions and feels like a memory palace, both on an individual and on a collective, cultural level. Close reading of the artworks is performed on the theoretical intersection between Art History and Cultural Memory Studies. The first case study concerns works from the exhibition Mnemosyne by the artist duo Anne and Patrick Poirier. These works combine interests in architecture, archaeology, and psychology. Models of cities and fantastical architectural designs resemble physical structures (such as the brain), architectural metaphors used in representing the concept of memory (such as the memory palace), and archaeological remains, essential to our shared cultural memories. Secondly, works by Do Ho Suh will help us understand the relationship between the home and memory on a far more personal level; outlines of rooms from his former homes, made of colourful, transparent fabric and combined into new structures, provide an insight into the way these spaces retain individual memories. The spaces have been emptied out, and only the husks remain. Although the remnants of walls, light switches, doors, electricity outlets, etc. are standard, mass-produced elements found in many homes and devoid of inherent meaning, together they remind us of the emotional significance attached to the muscle memory of spaces we once inhabited. The third case study concerns an exhibition in a house put up for sale on the Dutch real estate website Funda. The house was built in 1933 by a Jewish family fleeing from Germany, and the father and son were later deported and killed. The artists Anne van As and CA Wertheim have used the history and memories of the house as a starting point for an exhibition called (T)huis, a combination of the Dutch words for home and house. This case study illustrates the way houses become containers of memories; each new family ‘resets’ the meaning of a house, but traces of earlier memories remain. The exhibition allows us to explore the transition of individual memories into shared cultural memory, in this case of WWII. Taken together, the analyses provide a deeper understanding of different facets of the relationship between the home and memory, both individual and collective, and the ways in which art can represent these. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Anne%20and%20Patrick%20Poirier" title="Anne and Patrick Poirier">Anne and Patrick Poirier</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20memory" title=" cultural memory"> cultural memory</a>, <a href="https://publications.waset.org/abstracts/search?q=Do%20Ho%20Suh" title=" Do Ho Suh"> Do Ho Suh</a>, <a href="https://publications.waset.org/abstracts/search?q=home" title=" home"> home</a>, <a href="https://publications.waset.org/abstracts/search?q=memory%20palace" title=" memory palace"> memory palace</a> </p> <a href="https://publications.waset.org/abstracts/121241/the-home-as-memory-palace-three-case-studies-of-artistic-representations-of-the-relationship-between-individual-and-collective-memory-and-the-home" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/121241.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">88</span> World’s Fair (EXPO) Induced Heritage</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=I%C5%9F%C4%B1lay%20Tiarnagh%20Sheridan">Işılay Tiarnagh Sheridan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> World EXPO, short version for the “exposition”, is a large universal public exhibition held since 1851. Within the 164 years, it was organized 34 times in 22 cities and as a result it has given birth to its very own culture unlike most of other international events. It has an outstanding power in transforming the places, in which it is held, into trademarks via changes in their urban tissues. For that, it is widely remembered with its cities instead of its countries. Within the scope of this change, some constructions were planned to be temporary, some planned to be permanent and some were thought to be temporary but kept afterwards becoming important monuments such as the Crystal Palace of London (though it was destroyed later by a fire) and the Eiffel Tower of Paris. These examples are the most prominent names upon considering World EXPOs. Yet, there are so many other legacies of these events within modern city fabric today that we don’t usually associate with its Expo history. Some of them are leading figures not only for the housing city but for other cities also, such as the first Metro line of Paris during 1900 World EXPO; some of them are listed as monuments of the cities such as Saint Louis Art Museum of 1904 World EXPO; some of them, like Melbourne Royal Exhibition Building of 1880 World’s EXPO, are among UNESCO World Heritage Sites and some of them are the masterpieces of modern architecture such as the famous Barcelona Pavilion, German pavilion of the 1929 World’s EXPO, of Ludwig Mies van der Rohe. Thus, the aim of this paper is to analyze the history of World’s EXPO and its eventual results in the birth of its own cultural heritage. Upon organizing these results, the paper aims to create a brief list of EXPO heritage monuments and sites so as to form a database for their further conservation needs. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=expo" title="expo">expo</a>, <a href="https://publications.waset.org/abstracts/search?q=heritage" title=" heritage"> heritage</a>, <a href="https://publications.waset.org/abstracts/search?q=world%27s%20fair" title=" world's fair"> world's fair</a>, <a href="https://publications.waset.org/abstracts/search?q=legacy" title=" legacy"> legacy</a> </p> <a href="https://publications.waset.org/abstracts/29762/worlds-fair-expo-induced-heritage" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/29762.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">440</span> </span> 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