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artistic techniques</title> <meta name="description" content="Search results for: traditional artistic techniques"> <meta name="keywords" content="traditional artistic techniques"> <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> 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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="traditional artistic techniques"> <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> 11318</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: traditional artistic techniques</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">11318</span> The Potential of Digital Tools in Art Lessons at Junior School Level to Improve Artistic Ability Using Tamazight Fonts</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Aber%20Salem%20Aboalgasm">Aber Salem Aboalgasm</a>, <a href="https://publications.waset.org/abstracts/search?q=Rupert%20Ward"> Rupert Ward</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The aim of this research is to explore how pupils in art classes can use creative digital art tools to redesign Tamazight fonts, in order to develop children’s artistic creativity, enable them to learn about a new culture, and to help the teacher assess the creativity of pupils in the art class. It can also help students to improve their talents in drawing. The study could relate to research in Libya among the Amazigh people (better known as Berber) and possibly the development of Tamazight fonts with new uses in art. The research involved students aged 9-10 years old working with digital art tools, and was designed to explore the potential of digital technology by discovering suitable tools and techniques to develop children’s artistic performance using Tamazight fonts. The project also sought to show the aesthetic aspects of these characters and to stimulate the artistic creativity of these young people. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=artistic%20creativity" title="artistic creativity">artistic creativity</a>, <a href="https://publications.waset.org/abstracts/search?q=Tamazight%20fonts" title=" Tamazight fonts"> Tamazight fonts</a>, <a href="https://publications.waset.org/abstracts/search?q=technology%20acceptance%20model" title=" technology acceptance model"> technology acceptance model</a>, <a href="https://publications.waset.org/abstracts/search?q=traditional" title=" traditional"> traditional</a>, <a href="https://publications.waset.org/abstracts/search?q=digital%20art%20tools" title=" digital art tools"> digital art tools</a> </p> <a href="https://publications.waset.org/abstracts/6451/the-potential-of-digital-tools-in-art-lessons-at-junior-school-level-to-improve-artistic-ability-using-tamazight-fonts" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/6451.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">262</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">11317</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">11316</span> Improvement of the Traditional Techniques of Artistic Casting through the Development of Open Source 3D Printing Technologies Based on Digital Ultraviolet Light Processing</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Drago%20Diaz%20Aleman">Drago Diaz Aleman</a>, <a href="https://publications.waset.org/abstracts/search?q=Jose%20Luis%20Saorin%20Perez"> Jose Luis Saorin Perez</a>, <a href="https://publications.waset.org/abstracts/search?q=Cecile%20Meier"> Cecile Meier</a>, <a href="https://publications.waset.org/abstracts/search?q=Itahisa%20Perez%20Conesa"> Itahisa Perez Conesa</a>, <a href="https://publications.waset.org/abstracts/search?q=Jorge%20De%20La%20Torre%20Cantero"> Jorge De La Torre Cantero</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Traditional manufacturing techniques used in artistic contexts compete with highly productive and efficient industrial procedures. The craft techniques and associated business models tend to disappear under the pressure of the appearance of mass-produced products that compete in all niche markets, including those traditionally reserved for the work of art. The surplus value derived from the prestige of the author, the exclusivity of the product or the mastery of the artist, do not seem to be sufficient reasons to preserve this productive model. In the last years, the adoption of open source digital manufacturing technologies in small art workshops can favor their permanence by assuming great advantages such as easy accessibility, low cost, and free modification, adapting to specific needs of each workshop. It is possible to use pieces modeled by computer and made with FDM (Fused Deposition Modeling) 3D printers that use PLA (polylactic acid) in the procedures of artistic casting. Models printed by PLA are limited to approximate minimum sizes of 3 cm, and optimal layer height resolution is 0.1 mm. Due to these limitations, it is not the most suitable technology for artistic casting processes of smaller pieces. An alternative to solve size limitation, are printers from the type (SLS) "selective sintering by laser". And other possibility is a laser hardens, by layers, metal powder and called DMLS (Direct Metal Laser Sintering). However, due to its high cost, it is a technology that is difficult to introduce in small artistic foundries. The low-cost DLP (Digital Light Processing) type printers can offer high resolutions for a reasonable cost (around 0.02 mm on the Z axis and 0.04 mm on the X and Y axes), and can print models with castable resins that allow the subsequent direct artistic casting in precious metals or their adaptation to processes such as electroforming. In this work, the design of a DLP 3D printer is detailed, using backlit LCD screens with ultraviolet light. Its development is totally "open source" and is proposed as a kit made up of electronic components, based on Arduino and easy to access mechanical components in the market. The CAD files of its components can be manufactured in low-cost FDM 3D printers. The result is less than 500 Euros, high resolution and open-design with free access that allows not only its manufacture but also its improvement. In future works, we intend to carry out different comparative analyzes, which allow us to accurately estimate the print quality, as well as the real cost of the artistic works made with it. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=traditional%20artistic%20techniques" title="traditional artistic techniques">traditional artistic techniques</a>, <a href="https://publications.waset.org/abstracts/search?q=DLP%203D%20printer" title=" DLP 3D printer"> DLP 3D printer</a>, <a href="https://publications.waset.org/abstracts/search?q=artistic%20casting" title=" artistic casting"> artistic casting</a>, <a href="https://publications.waset.org/abstracts/search?q=electroforming" title=" electroforming"> electroforming</a> </p> <a href="https://publications.waset.org/abstracts/102644/improvement-of-the-traditional-techniques-of-artistic-casting-through-the-development-of-open-source-3d-printing-technologies-based-on-digital-ultraviolet-light-processing" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/102644.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">142</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">11315</span> Embracing Failure and Experimentation: A Journey through Artistic Residency</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hala%20Ali">Hala Ali</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the evolving landscape of contemporary art, the value of failure and experimentation plays a central role in reshaping artistic research. This paper explores an artistic residency where the focus shifted from traditional practices of ink on canvas to performance art using the human body as a medium of expression. This residency emphasized uncertainty, experimentation, and emotional expression as the core of the process. Through collaboration between a calligrapher and a visual artist, the performance engaged themes of seduction, silence, and the transition between reality and abstraction. In alignment with experimental art practices, the process itself became the artwork, embracing moments of failure and disruption as key components of creative exploration. This research integrates theories from neuroscience, psychology, and artistic failure, drawing on the insights of thinkers like John Cage, Samuel Beckett, and Cornelius Cardew to further contextualize the residency’s impact. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=embodied%20art" title="embodied art">embodied art</a>, <a href="https://publications.waset.org/abstracts/search?q=emotional%20communication" title=" emotional communication"> emotional communication</a>, <a href="https://publications.waset.org/abstracts/search?q=mindfulness%20in%20art" title=" mindfulness in art"> mindfulness in art</a>, <a href="https://publications.waset.org/abstracts/search?q=nonverbal%20communication" title=" nonverbal communication"> nonverbal communication</a>, <a href="https://publications.waset.org/abstracts/search?q=performance%20art" title=" performance art"> performance art</a> </p> <a href="https://publications.waset.org/abstracts/192388/embracing-failure-and-experimentation-a-journey-through-artistic-residency" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/192388.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">22</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">11314</span> The Relationship of Creativity and Innovation in Artistic Work and Their Importance in Improving the Artistic Organizational Performance</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Houyem%20Kotti">Houyem Kotti</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The development in societies requires that these societies are continuously changing in various aspects, a change that requires continuous adaptation to the data of the technical age. In order for the individual to perform his/her duty or task in a perfect way, it is necessary to provide all the basic requirements and necessities to increase the efficiency and effectiveness of the personnel working to accomplish their tasks, requirements, and work successfully. The success of the industries and organizations are linked to the need to create individuals in the creative and innovative field. Formation process is considered an economic development and social prosperity, and to improve the quantity and quality of artistic work. Therefore, creativity and innovation play an important role in improving the performance of the artistic organization as it is one of the variables affecting the organization's ability to grow and invest. In order to provide better services to their customers, especially in the face of competition and traditional methods of work, and in an environment that discourages and hinders creativity and impairs any process of development, change or creative behavior. The research methodology that will be performed for this study is described as qualitative by conducting several interviews with artistic people, experts in the artistic field and reviewing the related literature to collect the necessary and required qualitative data from secondary sources such as statistical reports, previous research studies, etc. In this research, we will attempt to clarify the relationship between innovation and its importance in the artistic organization, the conditions of achieving innovation and its constraints, barriers, and challenges. The creativity and innovation and their impacts on the performance of artistic organizations, explaining this mechanism, so as to ensure continuity of these organizations and keeping pace with developments in the global economic environment. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=artistic%20work" title="artistic work">artistic work</a>, <a href="https://publications.waset.org/abstracts/search?q=creativity%20and%20innovation" title=" creativity and innovation"> creativity and innovation</a>, <a href="https://publications.waset.org/abstracts/search?q=artistic%20organization" title=" artistic organization"> artistic organization</a>, <a href="https://publications.waset.org/abstracts/search?q=performance" title=" performance"> performance</a> </p> <a href="https://publications.waset.org/abstracts/90198/the-relationship-of-creativity-and-innovation-in-artistic-work-and-their-importance-in-improving-the-artistic-organizational-performance" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/90198.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">247</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">11313</span> ANDASA: A Web Environment for Artistic and Cultural Data Representation</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Carole%20Salis">Carole Salis</a>, <a href="https://publications.waset.org/abstracts/search?q=Marie%20F.%20Wilson"> Marie F. Wilson</a>, <a href="https://publications.waset.org/abstracts/search?q=Fabrizio%20Murgia"> Fabrizio Murgia</a>, <a href="https://publications.waset.org/abstracts/search?q=Cristian%20Lai"> Cristian Lai</a>, <a href="https://publications.waset.org/abstracts/search?q=Franco%20Atzori"> Franco Atzori</a>, <a href="https://publications.waset.org/abstracts/search?q=Giulia%20M.%20Orr%C3%B9"> Giulia M. Orrù</a> </p> <p class="card-text"><strong>Abstract:</strong></p> ANDASA is a knowledge management platform for the capitalization of knowledge and cultural assets for the artistic and cultural sectors. It was built based on the priorities expressed by the participating artists. Through mapping artistic activities and specificities, it enables to highlight various aspects of the artistic research and production. Such instrument will contribute to create networks and partnerships, as it enables to evidentiate who does what, in what field, using which methodology. The platform is accessible to network participants and to the general public. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cultural%20promotion" title="cultural promotion">cultural promotion</a>, <a href="https://publications.waset.org/abstracts/search?q=knowledge%20representation" title=" knowledge representation"> knowledge representation</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20maping" title=" cultural maping"> cultural maping</a>, <a href="https://publications.waset.org/abstracts/search?q=ICT" title=" ICT"> ICT</a> </p> <a href="https://publications.waset.org/abstracts/32803/andasa-a-web-environment-for-artistic-and-cultural-data-representation" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/32803.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">426</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">11312</span> The Significance of ‘Practice’ in Art Research: Indian and Western Perspective</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mukta%20Avachat-Shirke">Mukta Avachat-Shirke</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The process of manifestation in art has been studied deeply by various Indian and Western philosophers through times. In the art of painting, ‘Practice’ is always considered as techniques or making and ‘Theory’ is related to intelligence or the ‘conceptual.' The question about the significance of ‘Practice’ in artistic research has been a topic of debate. The aim of this qualitative study is to find the relevance of practice and theory while creating artworks. This study analyzes the thoughts and philosophy of Abhinavgupta, Hegel, and Croce to find a new perspective for looking at practice and theory within artistic research. With the method of grounded theory, the study attempts to establish the importance of both in artistic research. It discusses the issues like stages of creating art, role of tacit knowledge and importance of the decision-making the ability of the artist. This comparative analysis of these three philosophers along with the present systems can be used as a point of reference for further developments in the pedagogy of art research and artists, to understand the psychology and to follow the process of creativity effectively. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=artistic%20research" title="artistic research">artistic research</a>, <a href="https://publications.waset.org/abstracts/search?q=Indian%20philosophy" title=" Indian philosophy"> Indian philosophy</a>, <a href="https://publications.waset.org/abstracts/search?q=practice" title=" practice"> practice</a>, <a href="https://publications.waset.org/abstracts/search?q=Western%20Philosophy" title=" Western Philosophy"> Western Philosophy</a> </p> <a href="https://publications.waset.org/abstracts/60647/the-significance-of-practice-in-art-research-indian-and-western-perspective" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/60647.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">299</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">11311</span> Digital Art Fabric Prints: Procedure, Process and Progress</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Tripti%20Singh">Tripti Singh</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Digital tools are merging boundaries of different mediums as endeavoured artists exploring new areas. Digital fabric printing has motivated artists to create prints by combining images acquired by photograph, scanned images, computer graphics and microscopic imaginary etc to name few, with traditional media such as hand drawing, weaving, hand printed patterns, printing making techniques and so on. It opened whole new world of possibilities for artists to search, research and combine old and contemporary mediums for their unique art prints. As artistic medium digital art fabrics have aesthetic values which have impact and influence on not only on a personality but also interiors of a living or work space. In this way it can be worn, as fashion statement and also an interior decoration. Digital art fabric prints gives opportunity to print almost everything on any fabric with long lasting prints quality. Single edition and limited editions are possible for maintaining scarcity and uniqueness of an art form. These fabric prints fulfill today’s need, as they are eco-friendly in nature and they produce less wastage compared to traditional fabric printing techniques. These prints can be used to make unique and customized curtains, quilts, clothes, bags, furniture, dolls, pillows, framed artwork, costumes, banners and much, much more. This paper will explore the procedure, process, and progress techniques of digital art fabric printing in depth with suitable pictorial examples. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=digital%20art" title="digital art">digital art</a>, <a href="https://publications.waset.org/abstracts/search?q=fabric%20prints" title=" fabric prints"> fabric prints</a>, <a href="https://publications.waset.org/abstracts/search?q=digital%20fabric%20prints" title=" digital fabric prints"> digital fabric prints</a>, <a href="https://publications.waset.org/abstracts/search?q=new%20media" title=" new media"> new media</a> </p> <a href="https://publications.waset.org/abstracts/35137/digital-art-fabric-prints-procedure-process-and-progress" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/35137.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">515</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">11310</span> A Proposed Program for Developing Some Concepts to the Nursery Children in Egypt Using Artistic Activities</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ebtehag%20Tolba">Ebtehag Tolba</a>, <a href="https://publications.waset.org/abstracts/search?q=Ahmed%20Mousa"> Ahmed Mousa</a>, <a href="https://publications.waset.org/abstracts/search?q=Mohamed%20Abd%20El-Salam"> Mohamed Abd El-Salam</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The study presents a proposed program for nursery school children in Egypt. The program consists of a collection of artistic activities and aims to develop the language, mathematical, and artistic skills of preschool children. Furthermore, the researcher has presented a questionnaire to experts about the link between the target group and the content. Finally, the proposed program was applied to group of 30 children. In addition, the researcher has prepared another questionnaire for measuring the effect of the program. This questionnaire was used as a pre-test and post-test, and at the end of the study, a significant difference was determined in favour of the post-test results. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=developing" title="developing">developing</a>, <a href="https://publications.waset.org/abstracts/search?q=concepts" title=" concepts"> concepts</a>, <a href="https://publications.waset.org/abstracts/search?q=nursery" title=" nursery"> nursery</a>, <a href="https://publications.waset.org/abstracts/search?q=children" title=" children"> children</a>, <a href="https://publications.waset.org/abstracts/search?q=artistic%20activities" title=" artistic activities"> artistic activities</a> </p> <a href="https://publications.waset.org/abstracts/60616/a-proposed-program-for-developing-some-concepts-to-the-nursery-children-in-egypt-using-artistic-activities" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/60616.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">265</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">11309</span> Evaluating the Use of Digital Art Tools for Drawing to Enhance Artistic Ability and Improve Digital Skill among Junior School Students</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Aber%20Salem%20Aboalgasm">Aber Salem Aboalgasm</a>, <a href="https://publications.waset.org/abstracts/search?q=Rupert%20Ward"> Rupert Ward</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study investigated some results of the use of digital art tools by junior school children in order to discover if these tools could promote artistic ability and creativity. The study considers the ease of use and usefulness of the tools as well as how to assess artwork produced by digital means. As the use of these tools is a relatively new development in Art education, this study may help educators in their choice of which tools to use and when to use them. The study also aims to present a model for the assessment of students’ artistic development and creativity by studying their artistic activity. This model can help in determining differences in students’ creative ability and could be useful both for teachers, as a means of assessing digital artwork, and for students, by providing the motivation to use the tools to their fullest extent. Sixteen students aged nine to ten years old were observed and recorded while they used the digital drawing tools. The study found that, according to the students’ own statements, it was not the ease of use but the successful effects the tools provided which motivated the children to use them. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=artistic%20ability" title="artistic ability">artistic ability</a>, <a href="https://publications.waset.org/abstracts/search?q=creativity" title=" creativity"> creativity</a>, <a href="https://publications.waset.org/abstracts/search?q=drawing%20digital%20tool" title=" drawing digital tool"> drawing digital tool</a>, <a href="https://publications.waset.org/abstracts/search?q=TAM%20model" title=" TAM model"> TAM model</a>, <a href="https://publications.waset.org/abstracts/search?q=psychomotor%20domain" title=" psychomotor domain"> psychomotor domain</a> </p> <a href="https://publications.waset.org/abstracts/16532/evaluating-the-use-of-digital-art-tools-for-drawing-to-enhance-artistic-ability-and-improve-digital-skill-among-junior-school-students" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/16532.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">330</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">11308</span> A Program Based on Artistic and Musical Activities to Acquire Some Educational Concepts for Children with Learning Difficulties</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ahmed%20Amin%20Mousa">Ahmed Amin Mousa</a>, <a href="https://publications.waset.org/abstracts/search?q=Huda%20Mazeed"> Huda Mazeed</a>, <a href="https://publications.waset.org/abstracts/search?q=Eman%20Saad"> Eman Saad</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The study aims to identify the extent of the effectiveness of the artistic formation program using some types of pastes to reduce the hyperactivity of the kindergarten child. The researcher has discussed the effectiveness of the artistic program using some types of pastes in reducing the hyperactivity of the kindergarten child. The research sample included 120 children of ages between 5 to 6 years old from the five schools for special needs section learning disability, Cairo Province. The study used the empirical like curriculum which depends on designing one group using the before and after application measurement for the group to validate the fidelity of both the hypothesis and the effectiveness of the program. The variables of the study were specified as follows; artistic formation program using paper Mache as an independent variable and its effect on skills of kindergarten child with learning disabilities as a subsequent variable. The researchers depended on applying a group of artistic formation program using pulp melding skills for kindergarten children with learning disabilities. The tools of the study, designed by the researcher, included: recording card used for recording the Effective program using pulp molding skills for kindergarten children with learning disabilities during practicing the artistic formation activity. In additional, there was a program using pulp molding skills for kindergarten children with learning disabilities. The results proved the effectiveness of the program using pulp molding skills for kindergarten children with learning disabilities. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=artistic%20program" title="artistic program">artistic program</a>, <a href="https://publications.waset.org/abstracts/search?q=developing%20skills" title=" developing skills"> developing skills</a>, <a href="https://publications.waset.org/abstracts/search?q=kindergarten" title=" kindergarten"> kindergarten</a>, <a href="https://publications.waset.org/abstracts/search?q=children" title=" children"> children</a>, <a href="https://publications.waset.org/abstracts/search?q=learning%20disabilities" title=" learning disabilities"> learning disabilities</a> </p> <a href="https://publications.waset.org/abstracts/138898/a-program-based-on-artistic-and-musical-activities-to-acquire-some-educational-concepts-for-children-with-learning-difficulties" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/138898.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">160</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">11307</span> Management Accounting Techniques of Companies Listed on the Stock Exchange in Thailand</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Prateep%20Wajeetongratana">Prateep Wajeetongratana</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The objectives of the research were to examine that how management accounting techniques were perceived and used by companies listed on the stock exchange and to investigate similarities or differences of management accounting practices between companies listed on the stock exchange and Thai SMEs. Descriptive and inferential statistics were employed. The finding found that almost all of the companies used traditional management accounting techniques more than advanced management accounting techniques. Four management accounting techniques having no significant association with business characteristic were standard costing, job order costing, process costing. The barriers that Thai SMEs encountered were a lack of proper accounting system and the insufficient knowledge in management accounting of the accountants. The comparison results revealed that both companies listed on the stock exchange and Thai SMEs used traditional management accounting techniques more than advanced techniques. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=companies%20listed%20on%20the%20stock%20exchange" title="companies listed on the stock exchange">companies listed on the stock exchange</a>, <a href="https://publications.waset.org/abstracts/search?q=financial%20budget" title=" financial budget"> financial budget</a>, <a href="https://publications.waset.org/abstracts/search?q=management%20accounting" title=" management accounting"> management accounting</a>, <a href="https://publications.waset.org/abstracts/search?q=operating%20budget" title=" operating budget"> operating budget</a> </p> <a href="https://publications.waset.org/abstracts/43943/management-accounting-techniques-of-companies-listed-on-the-stock-exchange-in-thailand" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/43943.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">383</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">11306</span> Investigating the Effect of Handicrafts Recreation on the Interior Design of Traditional Arts Gallery</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Amir%20Masoud%20Dabagh">Amir Masoud Dabagh</a>, <a href="https://publications.waset.org/abstracts/search?q=Mahsa%20Khaleghi"> Mahsa Khaleghi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The world has entered a new phase of cultural, social, economic, and so on in the last two centuries. Apart from its positive benefits and achievements to the world, it has also incurred many costs, most of which can be mentioned as destroying or at least diminishing the role of the costumes, traditions and authentic culture of the past communities. Understanding what lasts in traditional arts is vital and worthy of study because receiving it and embracing art and forms of art using that last the artistic creation removes the age-old color and smell of its face, making it immortal and persistent in all ages. This paper attempts to present traditional art concepts and solutions for interior design with the approach of handicrafts recreation as a symbol and manifestation of national identity and proof of ancient civilizations, which is at the center of tourists' attention today. The research method is a descriptive-analytical one that first explores the theoretical foundations of research, which are the concepts of recreation and traditional arts, and analyzes the process of recreation that conceals the recollection of past experiences as well as the dynamics and creativity. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=recreation" title="recreation">recreation</a>, <a href="https://publications.waset.org/abstracts/search?q=handicrafts" title=" handicrafts"> handicrafts</a>, <a href="https://publications.waset.org/abstracts/search?q=interior%20design" title=" interior design"> interior design</a>, <a href="https://publications.waset.org/abstracts/search?q=concept" title=" concept"> concept</a>, <a href="https://publications.waset.org/abstracts/search?q=traditional%20arts" title=" traditional arts"> traditional arts</a> </p> <a href="https://publications.waset.org/abstracts/164442/investigating-the-effect-of-handicrafts-recreation-on-the-interior-design-of-traditional-arts-gallery" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/164442.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">111</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">11305</span> Scientific and Technical Basis for the Application of Textile Structures in Glass Using Pate De Verre Technique</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Walaa%20Hamed%20Mohamed%20Hamza">Walaa Hamed Mohamed Hamza</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Textile structures are the way in which the threading process of both thread and loom is done together to form the woven. Different methods of attaching the clothing and the flesh produce different textile structures, which differ in their surface appearance from each other, including so-called simple textile structures. Textile compositions are the basis of woven fabric, through which aesthetic values can be achieved in the textile industry by weaving threads of yarn with the weft at varying degrees that may reach the total control of one of the two groups on the other. Hence the idea of how art and design can be used using different textile structures under the modern techniques of pate de verre. In the creation of designs suitable for glass products employed in the interior architecture. The problem of research: The textile structures, in general, have a significant impact on the appearance of the fabrics in terms of form and aesthetic. How can we benefit from the characteristics of different textile compositions in different glass designs with different artistic values. The research achieves its goal by the investment of simple textile structures in innovative artistic designs using the pate de verre technique, as well as the use of designs resulting from the textile structures in the external architecture to add various aesthetic values. The importance of research in the revival of heritage using ancient techniques, as well as synergy between different fields of applied arts such as glass and textile, and also study the different and diverse effects resulting from each fabric composition and the possibility of use in various designs in the interior architecture. The research will be achieved that by investing in simple textile compositions, innovative artistic designs produced using pate de verre technology can be used in interior architecture. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=glass" title="glass">glass</a>, <a href="https://publications.waset.org/abstracts/search?q=interior%20architecture" title=" interior architecture"> interior architecture</a>, <a href="https://publications.waset.org/abstracts/search?q=pate%20de%20verre" title=" pate de verre"> pate de verre</a>, <a href="https://publications.waset.org/abstracts/search?q=textile%20structures" title=" textile structures"> textile structures</a> </p> <a href="https://publications.waset.org/abstracts/88527/scientific-and-technical-basis-for-the-application-of-textile-structures-in-glass-using-pate-de-verre-technique" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/88527.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">295</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">11304</span> At Home in This World: Nanyang Painter Georgette Chen</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Christine%20C.%20Neal">Christine C. Neal</a> </p> <p class="card-text"><strong>Abstract:</strong></p> A veritable world citizen, Nanyang painter Georgette Chen (1906-1993) melded artistic influences from both the East and West. Much has been written about her contribution to the art of Singapore, her role in the establishment of the Nanyang Style, the lasting influence that she exerted on younger artists, and her considerable artistic achievements. Never before examined is the development of her oeuvre that reflects this mixture, to the best of the author’s knowledge. The works selected for this investigation reveal her artistic development from student to teacher, the range of her thematic interests, and the stimuli that she absorbed from a life ensconced in eastern and western cultures where she felt, as she wrote, “at home in this world.” <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=China" title=" China"> China</a>, <a href="https://publications.waset.org/abstracts/search?q=Georgette%20Chen" title=" Georgette Chen"> Georgette Chen</a>, <a href="https://publications.waset.org/abstracts/search?q=Nanyang" title=" Nanyang"> Nanyang</a>, <a href="https://publications.waset.org/abstracts/search?q=Paris" title=" Paris"> Paris</a>, <a href="https://publications.waset.org/abstracts/search?q=Singapore" title=" Singapore"> Singapore</a> </p> <a href="https://publications.waset.org/abstracts/132000/at-home-in-this-world-nanyang-painter-georgette-chen" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/132000.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">284</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">11303</span> The Colouration of Additive-Manufactured Polymer</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Abisuga%20Oluwayemisi%20Adebola">Abisuga Oluwayemisi Adebola</a>, <a href="https://publications.waset.org/abstracts/search?q=Kerri%20Akiwowo"> Kerri Akiwowo</a>, <a href="https://publications.waset.org/abstracts/search?q=Deon%20de%20Beer"> Deon de Beer</a>, <a href="https://publications.waset.org/abstracts/search?q=Kobus%20Van%20Der%20Walt"> Kobus Van Der Walt</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The convergence of additive manufacturing (AM) and traditional textile dyeing techniques has initiated innovative possibilities for improving the visual application and customization potential of 3D-printed polymer objects. Textile dyeing techniques have progressed to transform fabrics with vibrant colours and complex patterns over centuries. The layer-by-layer deposition characteristic of AM necessitates adaptations in dye application methods to ensure even colour penetration across complex surfaces. Compatibility between dye formulations and polymer matrices influences colour uptake and stability, demanding careful selection and testing of dyes for optimal results. This study investigates the development interaction between these areas, revealing the challenges and opportunities of applying textile dyeing methods to colour 3D-printed polymer materials. The method explores three innovative approaches to colour the 3D-printed polymer object: (a) Additive Manufacturing of a Prototype, (b) the traditional dyebath method, and (c) the contemporary digital sublimation technique. The results show that the layer lines inherent to AM interact with dyes differently and affect the visual outcome compared to traditional textile fibers. Skillful manipulation of textile dyeing methods and dye type used for this research reduced the appearance of these lines to achieve consistency and desirable colour outcomes. In conclusion, integrating textile dyeing techniques into colouring 3D-printed polymer materials connects historical craftsmanship with innovative manufacturing. Overcoming challenges of colour distribution, compatibility, and layer line management requires a holistic approach that blends the technical consistency of AM with the artistic sensitivity of textile dyeing. Hence, applying textile dyeing methods to 3D-printed polymers opens new dimensions of aesthetic and functional possibilities. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=polymer" title="polymer">polymer</a>, <a href="https://publications.waset.org/abstracts/search?q=3D-printing" title=" 3D-printing"> 3D-printing</a>, <a href="https://publications.waset.org/abstracts/search?q=sublimation" title=" sublimation"> sublimation</a>, <a href="https://publications.waset.org/abstracts/search?q=textile" title=" textile"> textile</a>, <a href="https://publications.waset.org/abstracts/search?q=dyeing" title=" dyeing"> dyeing</a>, <a href="https://publications.waset.org/abstracts/search?q=additive%20manufacturing" title=" additive manufacturing"> additive manufacturing</a> </p> <a href="https://publications.waset.org/abstracts/176518/the-colouration-of-additive-manufactured-polymer" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/176518.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">67</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">11302</span> A Study on Interaction between Traditional Culture and Modern Womenswear</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yu-Wei%20Chu">Yu-Wei Chu</a>, <a href="https://publications.waset.org/abstracts/search?q=Marie%20Aja-Herrera"> Marie Aja-Herrera</a>, <a href="https://publications.waset.org/abstracts/search?q=Denis%20Antoine"> Denis Antoine</a>, <a href="https://publications.waset.org/abstracts/search?q=Mengjie%20Di"> Mengjie Di</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The purpose of this paper is to explore the innovative perspective of the local traditional culture of garments from different continents. The relationship between the local culture, the indigenous traditional technique of textile manufacture, and modern womenswear will be investigated. This will include exploring and discussing traditional techniques to create textiles reflecting different cultures and relevant handicrafts, including the history of these different peoples and regions. However, along with the improvement of technology, the diversity of culture is usually unified into a single aesthetic element, which makes fashion lack traditional cultural layers. Local cultural awareness has been gradually emerging in womenswear in recent years with the strong sweep of globalization. The possible loss of traditional art and crafts became an awareness for different cultures, who realized the necessity to protect and preserve their individual uniqueness. Modern womenswear is one of the largest markets in the fashion and apparel marketplace. Therefore, the commonalities of traditional textiles and garments for modern womenswear will be researched. Localized traditional fabrics have some elements, such as weaving techniques and other related crafts, in common with more modern manufacturing methods. In addition, the common point of traditional clothing is the use of draping, construction, and fabric manipulation. This paper aims to explore these factors, as discussed above, and also apply, in an innovative and creative manner, some of these traditional arts and crafts to modern womenswear. The combination of textile manipulation and different construction techniques can support the development of innovative womenswear to include a diversity of aesthetics. The main contribution of the paper is to find out the solution to bring local culture into the formal womenswear market with modern aesthetics to realize the ideal of traditional culture reconstruction. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=traditional%20culture" title="traditional culture">traditional culture</a>, <a href="https://publications.waset.org/abstracts/search?q=modern%20womenswear" title=" modern womenswear"> modern womenswear</a>, <a href="https://publications.waset.org/abstracts/search?q=diversity" title=" diversity"> diversity</a>, <a href="https://publications.waset.org/abstracts/search?q=aesthetics" title=" aesthetics"> aesthetics</a> </p> <a href="https://publications.waset.org/abstracts/164637/a-study-on-interaction-between-traditional-culture-and-modern-womenswear" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/164637.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">114</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">11301</span> Traditional Sustainable Architecture Techniques and Its Applications in Contemporary Architecture: Case Studies of the Islamic House in Fatimid Cairo and Sana'a, Cities in Egypt and Yemen</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ahmed%20S.%20Attia">Ahmed S. Attia</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper includes a study of modern sustainable architectural techniques and elements that are originally found in vernacular and traditional architecture, particularly in the Arab region. Courtyards, Wind Catchers, and Mashrabiya, for example, are elements that have been developed in contemporary architecture using modern technology to create sustainable architecture designs. An analytical study of the topic will deal with some examples of the Islamic House in Fatimid Cairo city in Egypt, analyzing its elements and their relationship to the environment, in addition to the examples in southern Egypt (Nubba) of sustainable architecture systems, and traditional houses in Sana'a city, Yemen, using earth resources of mud bricks and other construction materials. In conclusion, a comparative study between traditional and contemporary techniques will be conducted to confirm that it is possible to achieve sustainable architecture through the use of low-technology in buildings in Arab regions. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Islamic%20context" title="Islamic context">Islamic context</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20environment" title=" cultural environment"> cultural environment</a>, <a href="https://publications.waset.org/abstracts/search?q=natural%20environment" title=" natural environment"> natural environment</a>, <a href="https://publications.waset.org/abstracts/search?q=Islamic%20house" title=" Islamic house"> Islamic house</a>, <a href="https://publications.waset.org/abstracts/search?q=low-technology" title=" low-technology"> low-technology</a>, <a href="https://publications.waset.org/abstracts/search?q=mud%20brick" title=" mud brick"> mud brick</a>, <a href="https://publications.waset.org/abstracts/search?q=vernacular%20and%20traditional%20architecture" title=" vernacular and traditional architecture"> vernacular and traditional architecture</a> </p> <a href="https://publications.waset.org/abstracts/103352/traditional-sustainable-architecture-techniques-and-its-applications-in-contemporary-architecture-case-studies-of-the-islamic-house-in-fatimid-cairo-and-sanaa-cities-in-egypt-and-yemen" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/103352.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">299</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">11300</span> Exploring the Birth of Modern Art in Borneo, Post-War Era 1945 to 1970 </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rahah%20Hasan">Rahah Hasan</a>, <a href="https://publications.waset.org/abstracts/search?q=Faridah%20Sahari"> Faridah Sahari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper describes the development of modern art in Borneo, particularly in Sarawak, Sabah, and Brunei, after the Second World War until the 1970s. This was the period when the British Colonial government dictated the education system, which consequentially inculcated visual art through art and craft subjects imposed on all vernacular schools in Borneo. British influence within the state governance, social, and education system designed with Western ideology created not only a westernized society and mindset but at the same time generated artistic opportunities for emerging local painters to be involved in the initiation of Modern Art in Borneo. Through the historical method and analysis of primary and secondary data, it was obvious that the existence of colonial government departments and institutions such as museums and teaching colleges, and other social organizations in Borneo at that time contributed significantly to the artistic movement. The similar structure and motivation of development in other areas of Borneo confirmed that artistic affirmation of modern art advanced homogenously. Their understanding of easel painting as well as a unique interpretation of culture once distanced from traditional art, resulting in a new visual image that transcended their ethnicity and identity through new mediums and tools. These meticulous interventions modestly visualized in each painting, as discussed in this paper, hopefully, will give a deeper understanding and appreciation of the history of modern art in Borneo. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=art%20history" title="art history">art history</a>, <a href="https://publications.waset.org/abstracts/search?q=Borneo%20art" title=" Borneo art"> Borneo art</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=modern%20art" title=" modern art"> modern art</a> </p> <a href="https://publications.waset.org/abstracts/132039/exploring-the-birth-of-modern-art-in-borneo-post-war-era-1945-to-1970" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/132039.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">143</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">11299</span> Ilorin Traditional Architecture as a Good Example of a Green Building Design</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Olutola%20Funmilayo%20Adekeye">Olutola Funmilayo Adekeye</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Tradition African practice of architecture can be said to be deeply rooted in Green Architecture in concept, design and execution. A study into the ancient building techniques in Ilorin Emirate depicts prominent (eco-centric approach of) Green Architecture principles. In the Pre-colonial era before the introduction of modern architecture and Western building materials, the Nigeria traditional communities built their houses to meet their cultural, religious and social needs using mainly indigenous building materials such as mud (Amo), cowdung (Boto), straws (koriko), palm fronts (Imo-Ope) to mention a few. This research attempts to identify the various techniques of applying the traditional African principles of Green Architecture to Ilorin traditional buildings. It will examine and assess some case studies to understand the extent to which Green architecture principles have been applied to traditional building designs that are still preserved today in Ilorin, Nigeria. Furthermore, this study intends to answer many questions, which can be summarized into two basic questions which are: (1) What aspects of what today are recognized as important green architecture principles have been applied to Ilorin traditional buildings? (2) To what extent have the principles of green architecture applied to Ilorin traditional buildings been ways of demonstrating a cultural attachment to the earth as an expression of the African sense of human being as one with nature? <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=green%20architecture" title="green architecture">green architecture</a>, <a href="https://publications.waset.org/abstracts/search?q=Ilorin" title=" Ilorin"> Ilorin</a>, <a href="https://publications.waset.org/abstracts/search?q=traditional%20buildings" title=" traditional buildings"> traditional buildings</a>, <a href="https://publications.waset.org/abstracts/search?q=design%20principles" title=" design principles"> design principles</a>, <a href="https://publications.waset.org/abstracts/search?q=ecocentric" title=" ecocentric"> ecocentric</a>, <a href="https://publications.waset.org/abstracts/search?q=application" title=" application"> application</a> </p> <a href="https://publications.waset.org/abstracts/6481/ilorin-traditional-architecture-as-a-good-example-of-a-green-building-design" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/6481.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">549</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">11298</span> Association of Laterality and Sports Specific Rotational Preference with Number of Injuries in Artistic Gymnasts</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Teja%20Joshi">Teja Joshi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Laterality has shown to play a role in performance as well as injuries especially in unilateral sports disciplines. Uniquely, Artistic Gymnastics involves combination of unilateral, bilateral and complex multi-planer elements as well as gymnastics specific rotational preference. Therefore, this study was conducted to explore if any such preferences are associated with number of injuries in artistic gymnasts. To explore the association between lateral preferences, rotational preferences and injuries incidence in artistic gymnastics. Artistic gymnasts above 16 years of age, were invited to participate in an online survey. The survey included consent, lateral preference inventory, injury data collection according to anatomical locations and rotational preference for selected gymnastics elements performed on the floor exercise. SPSS version 24 was used to analyse Non-parametric data using Kruskal-Wallis (K- independent test) test. Multiple regression was performed to identify the predictor for injuries and their side in gymnasts. Total number of injuries per gymnast was associated with handedness (p value-0.049) and no significant association was noted for footdness (p value-0.207), eyedness (p value-0.491) and eardness (p value-0.798). Additionally, rotational preferences did not influence number of injuries (p value-0.521). In multiple regression, eyedness was identified as a predicting factor to determine the number of injuries. Rotational preferences were neither determined as a national strategy nor a product of lateral preference. Dominant hand had higher number of injuries in artistic gymnasts. Rotational preference is independent of laterality, number of injuries and nationality. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=sports%20injury" title="sports injury">sports injury</a>, <a href="https://publications.waset.org/abstracts/search?q=rotational%20preference" title=" rotational preference"> rotational preference</a>, <a href="https://publications.waset.org/abstracts/search?q=gymnastics" title=" gymnastics"> gymnastics</a>, <a href="https://publications.waset.org/abstracts/search?q=handedness" title=" handedness"> handedness</a> </p> <a href="https://publications.waset.org/abstracts/153281/association-of-laterality-and-sports-specific-rotational-preference-with-number-of-injuries-in-artistic-gymnasts" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/153281.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">119</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">11297</span> A Review of Soil Stabilization Techniques</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Amin%20Chegenizadeh">Amin Chegenizadeh</a>, <a href="https://publications.waset.org/abstracts/search?q=Mahdi%20Keramatikerman"> Mahdi Keramatikerman</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Soil stabilization is a crucial issue that helps to remove of risks associated with the soil failure. As soil has applications in different industries such as construction, pavement and railways, the means of stabilizing soil are varied. This paper will focus on the techniques of stabilizing soils. It will do so by gathering useful information on the state of the art in the field of soil stabilization, investigating both traditional and advanced methods. To inquire into the current knowledge, the existing literature will be divided into categories addressing the different techniques. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=review" title="review">review</a>, <a href="https://publications.waset.org/abstracts/search?q=soil" title=" soil"> soil</a>, <a href="https://publications.waset.org/abstracts/search?q=stabilization" title=" stabilization"> stabilization</a>, <a href="https://publications.waset.org/abstracts/search?q=techniques" title=" techniques"> techniques</a> </p> <a href="https://publications.waset.org/abstracts/36500/a-review-of-soil-stabilization-techniques" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/36500.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">545</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">11296</span> A Study of Lapohan Traditional Pottery Making in Selakan Island, Semporna Sabah: An Initial Framework</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Norhayati%20Ayob">Norhayati Ayob</a>, <a href="https://publications.waset.org/abstracts/search?q=Shamsu%20Mohamad"> Shamsu Mohamad</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper aims to provide an initial background of the process of making traditional ceramic pottery, focusing on the materials and the influence of culture heritage. Ceramic pottery is one of the hallmarks of Sabah’s heirloom, not only use as cooking and storage containers but also closely linked with folk cultures and heritage. The Bajau Laut ethnic community of Semporna or better known as the Sea Gypsies, mostly are boat dwellers and work as fishermen in the coast. This ethnic community is famous for their own artistic traditional heirloom, especially the traditional hand-made clay stove called Lapohan. It is found that in the daily life of Bajau Laut community, Lapohan (clay stove) is used to prepare the meal and as a food warmer while they are at the sea. Besides, Lapohan pottery conveys symbolic meaning of natural objects, which portrays the identity, and values of Bajau Laut community. It is acknowledged that the basic process of making potterywares was much the same for people all across the world, nevertheless, it is crucial to consider that different ethnic groups may have their own styles and choices of raw materials. Furthermore, it is still unknown why and how the Bajau Laut ethnic of Semporna get started making their own pottery and to survive until today by heavily depending on the raw materials available in Semporna. In addition, the emergent problem faced by the pottery maker in Sabah is the absence of young successor to continue the heirloom legacy. Therefore, this research aims to explore the traditional pottery making in Sabah, by investigating the background history of Lapohan pottery and to propose the classification of Lapohan based on design and motifs of traditional pottery that will be recognised throughout the study. It is postulated that different techniques and forms of making traditional pottery may produce different types of pottery in terms of surface decoration, shape, and size that portrays different cultures. This study will be conducted at Selakan Island, Semporna, which is the only location that still has Lapohan making. This study is also based on the chronological process of making pottery and taboos of the process of preparing the clay, forming, decoration technique, motif application and firing techniques. The relevant information for the study will be gathered from field study, including observation, in-depth interview and video recording. In-depth interviews will be conducted with several potters and the conversation and pottery making process will be recorded in order to understand the actual process of making Lapohan. The findings hope to provide several types of Lapohan based on different designs and cultures, for example, the one with flat-shape design or has round-shape on the top of clay stove will be labeled with suitable name based on their culture. In conclusion, it is hoped that this study will contribute to conservation for traditional pottery making in Sabah as well as to preserve their culture and heirloom for future generations. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bajau%20Laut" title="Bajau Laut">Bajau Laut</a>, <a href="https://publications.waset.org/abstracts/search?q=culture" title=" culture"> culture</a>, <a href="https://publications.waset.org/abstracts/search?q=Lapohan" title=" Lapohan"> Lapohan</a>, <a href="https://publications.waset.org/abstracts/search?q=traditional%20pottery" title=" traditional pottery"> traditional pottery</a> </p> <a href="https://publications.waset.org/abstracts/69751/a-study-of-lapohan-traditional-pottery-making-in-selakan-island-semporna-sabah-an-initial-framework" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/69751.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">187</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">11295</span> Developing Artistic Concepts for Kindergarten Children in Egypt Using Graphic Activities</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mona%20Yacoub">Mona Yacoub</a>, <a href="https://publications.waset.org/abstracts/search?q=Ahmed%20Amin%20Mousa"> Ahmed Amin Mousa</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The current work presents a program for children in Egypt. This program involved a collection of artistic activities that purposes to improve some language, artistic skills of kindergarten children. The researchers have prepared a questionnaire for the link between the target group and the content. The questionnaire has been presented to experts for adjudicating. The program was applied to a group of 30 children. Another questionnaire has been prepared by the researchers for measuring the activities’ effect on the children. The second questionnaire was considered as the pre-test and post-test. Finally, after applying the activities and the questionnaire, the researchers detected a significant difference in favor of the post-test results. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Developing" title="Developing">Developing</a>, <a href="https://publications.waset.org/abstracts/search?q=concepts" title=" concepts"> concepts</a>, <a href="https://publications.waset.org/abstracts/search?q=kindergarten" title=" kindergarten"> kindergarten</a>, <a href="https://publications.waset.org/abstracts/search?q=children" title=" children"> children</a>, <a href="https://publications.waset.org/abstracts/search?q=graphic%20activities" title=" graphic activities"> graphic activities</a> </p> <a href="https://publications.waset.org/abstracts/114297/developing-artistic-concepts-for-kindergarten-children-in-egypt-using-graphic-activities" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/114297.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">161</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">11294</span> Contemporary Materialities</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Fabian%20Saptouw">Fabian Saptouw </a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the past decade there was a resurgence of interest in the value of ‘process’ and ‘craft’ within the social and artistic community. Theorist like Barbara Bolt and Paul Carter have eloquently argued for the importance of ‘theorizing out of practice’ and ‘material thinking’ in response to this trend. Time and labour intensive artistic production processes are however not generally included in this bracket and often labelled as either obsessive or absurd. Neither of these terms adequately conveys the conceptual importance of labour in relation to ‘process’ as manifested through this production method. This issue will be addressed by critically assessing the work of eight South African artists through the lens of contemporary process-based production. This will result in a more integrated view of the art-object, its art-historical trajectory, its materialisation as well as its production process. This paper will conclude by tying the characteristics of these artworks to international trends and provide a platform for the overall reconsideration of unalienated artistic labour. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=materiality" title="materiality">materiality</a>, <a href="https://publications.waset.org/abstracts/search?q=process%20art" title=" process art"> process art</a>, <a href="https://publications.waset.org/abstracts/search?q=practice-led%20research" title=" practice-led research"> practice-led research</a>, <a href="https://publications.waset.org/abstracts/search?q=unalienated%20labour" title=" unalienated labour"> unalienated labour</a> </p> <a href="https://publications.waset.org/abstracts/25665/contemporary-materialities" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/25665.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">341</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">11293</span> An Inexhaustible Will of Infinite, or the Creative Will in the Psychophysiological Artistic Practice: An Analysis through Nietzsche's Will to Power</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Filipa%20Cruz">Filipa Cruz</a>, <a href="https://publications.waset.org/abstracts/search?q=Grecia%20P.%20Matos"> Grecia P. Matos</a> </p> <p class="card-text"><strong>Abstract:</strong></p> An Inexhaustible Will of Infinite is ongoing practice-based research focused on a psychophysiological conception of body and on the creative will that seeks to examine the possibility of art being simultaneously a pacifier and an intensifier in a physiological artistic production. This is a study where philosophy and art converge in a commentary on the affection of the concept of will to power in the art world through Nietzsche’s commentaries, through the analysis of case studies and a reflection arising from artistic practice. Through Nietzsche, it is sought to compare concepts that communicate with the artistic practice since creation is an intensification and engenders perspectives. It is also a practice highly embedded in the body, in the non-verbal, in the physiology of art and in the coexistence between the sensorial and the thought. It is questioned if the physiology of art could be thought of as a thinking-feeling with no primacy of the thought over the sensorial. Art as a manifestation of the will to power participates in a comprehension of the world. In this article, art is taken as a privileged way of communication – implicating corporeal-sensorial-conceptual – and of connection between humans. Problematized is the dream and the drunkenness as intensifications and expressions of life’s comprehension. Therefore, art is perceived as suggestion and invention, where the artistic intoxication breaks limits in the experience of life, and the artist, dominated by creative forces, claims, orders, obeys, proclaims love for life. The intention is also to consider how one can start from pain to create and how one can generate new and endless artistic forms through nightmares, daydreams, impulses, intoxication, enhancement, intensification in a plurality of subjects and matters. It is taken into consideration the fact that artistic creation is something that is intensified corporeally, expanded, continuously generated and acting on bodies. It is inextinguishable and a constant movement intertwining Apollonian and Dionysian instincts of destruction and creation of new forms. The concept of love also appears associated with conquering, that, in a process of intensification and drunkenness, impels the artist to generate and to transform matter. Just like a love relationship, love in Nietzsche requires time, patience, effort, courage, conquest, seduction, obedience, and command, potentiating the amplification of knowledge of the other / the world. Interlacing Nietzsche's philosophy, not with Modern Art, but with Contemporary Art, it is argued that intoxication, will to power (strongly connected with the creative will) and love still have a place in the artistic production as creative agents. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=artistic%20creation" title="artistic creation">artistic creation</a>, <a href="https://publications.waset.org/abstracts/search?q=body" title=" body"> body</a>, <a href="https://publications.waset.org/abstracts/search?q=intensification" title=" intensification"> intensification</a>, <a href="https://publications.waset.org/abstracts/search?q=psychophysiology" title=" psychophysiology"> psychophysiology</a>, <a href="https://publications.waset.org/abstracts/search?q=will%20to%20power" title=" will to power"> will to power</a> </p> <a href="https://publications.waset.org/abstracts/119003/an-inexhaustible-will-of-infinite-or-the-creative-will-in-the-psychophysiological-artistic-practice-an-analysis-through-nietzsches-will-to-power" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/119003.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">119</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">11292</span> Liquid Illumination: Fabricating Images of Fashion and Architecture</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sue%20Hershberger%20Yoder">Sue Hershberger Yoder</a>, <a href="https://publications.waset.org/abstracts/search?q=Jon%20Yoder"> Jon Yoder</a> </p> <p class="card-text"><strong>Abstract:</strong></p> “The appearance does not hide the essence, it reveals it; it is the essence.”—Jean-Paul Sartre, Being and Nothingness Three decades ago, transarchitect Marcos Novak developed an early form of algorithmic animation he called “liquid architecture.” In that project, digitally floating forms morphed seamlessly in cyberspace without claiming to evolve or improve. Change itself was seen as inevitable. And although some imagistic moments certainly stood out, none was hierarchically privileged over another. That project challenged longstanding assumptions about creativity and artistic genius by posing infinite parametric possibilities as inviting alternatives to traditional notions of stability, originality, and evolution. Through ephemeral processes of printing, milling, and projecting, the exhibition “Liquid Illumination” destabilizes the solid foundations of fashion and architecture. The installation is neither worn nor built in the conventional sense, but—like the sensual art forms of fashion and architecture—it is still radically embodied through the logics and techniques of design. Appearances are everything. Surface pattern and color are no longer understood as minor afterthoughts or vapid carriers of dubious content. Here, they become essential but ever-changing aspects of precisely fabricated images. Fourteen silk “colorways” (a term from the fashion industry) are framed selections from ongoing experiments with intricate pattern and complex color configurations. Whether these images are printed on fabric, milled in foam, or illuminated through projection, they explore and celebrate the untapped potentials of the surficial and superficial. Some components of individual prints appear to float in front of others through stereoscopic superimpositions; some figures appear to melt into others due to subtle changes in hue without corresponding changes in value; and some layers appear to vibrate via moiré effects that emerge from unexpected pattern and color combinations. The liturgical atmosphere of Liquid Illumination is intended to acknowledge that, like the simultaneously sacred and superficial qualities of rose windows and illuminated manuscripts, artistic and religious ideologies are also always malleable. The intellectual provocation of this paper pushes the boundaries of current thinking concerning viable applications for fashion print designs and architectural images—challenging traditional boundaries between fine art and design. The opportunistic installation of digital printing, CNC milling, and video projection mapping in a gallery that is normally reserved for fine art exhibitions raises important questions about cultural/commercial display, mass customization, digital reproduction, and the increasing prominence of surface effects (color, texture, pattern, reflection, saturation, etc.) across a range of artistic practices and design disciplines. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=fashion" title="fashion">fashion</a>, <a href="https://publications.waset.org/abstracts/search?q=print%20design" title=" print design"> print design</a>, <a href="https://publications.waset.org/abstracts/search?q=architecture" title=" architecture"> architecture</a>, <a href="https://publications.waset.org/abstracts/search?q=projection%20mapping" title=" projection mapping"> projection mapping</a>, <a href="https://publications.waset.org/abstracts/search?q=image" title=" image"> image</a>, <a href="https://publications.waset.org/abstracts/search?q=fabrication" title=" fabrication"> fabrication</a> </p> <a href="https://publications.waset.org/abstracts/160050/liquid-illumination-fabricating-images-of-fashion-and-architecture" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/160050.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">11291</span> Nabokov’s Lolita: Externalization of Contemporary Mind in the Configuration of Hedonistic Aesthetics</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Saima%20Murtaza">Saima Murtaza</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Ethics and aesthetics have invariably remained the two closely integrated artistic appurtenances for the production of any work of art. These artistic devices configure themselves into a complex synthesis in our contemporary literature. The labyrinthine integration of ethics and aesthetics, operating in the lives of human characters, to the extent of transcending all limits has resulted in an artistic puzzle for the readers. Art, no doubt, is an extrinsic expression of the intrinsic life of man. The use of aesthetics in literature pertaining to human existence; aesthetic solipsism, has resulted in the artistic objectification of these characters. The practice of the like aestheticism deprives the characters of their souls, rendering them as mere objects of aesthetic gaze at the hands of their artists-creators. Artists orchestrate their lives founding it on a plot which deviates from normal social and ethical standards. Their perverse attitude can be seen in dealing with characters, their feelings and the incidents of their lives. Morality is made to appear not as a religious construct but as an individual’s private affair. Furthermore, the idea of beauty incarnated, in other words hedonistic aesthetic does not placate a true aesthete. Ethics and aesthetics are the two most recurring motifs of our contemporary literature, especially of Nabokov’s world. The purpose of this study is to peruse these aforementioned motifs in Nabokov’s most enigmatic novel Lolita, a story of pedophilia, which is in fact reflective of our complex individual psychic and societal patterns. The narrative subverts all the traditional and hitherto known notions of aesthetics and ethics. When applied to literature, aesthetic does not simply mean ‘beautiful’ in the text. It refers to an intricate relationship between feelings and perception and also incorporates within its range wide-ranging emotional reactions to text. The term aesthetics in literature is connected with the readers whose critical responses to the text determine the merit of any work to be really a piece of art. Aestheticism is the child of ethics. Morality sets the grounds for the production of any work and the idea of aesthetics gives it transcendence. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=ethics" title="ethics">ethics</a>, <a href="https://publications.waset.org/abstracts/search?q=aesthetics%20and%20hedonistic%20aesthetic" title=" aesthetics and hedonistic aesthetic"> aesthetics and hedonistic aesthetic</a>, <a href="https://publications.waset.org/abstracts/search?q=nymphet%20syndrome" title=" nymphet syndrome"> nymphet syndrome</a>, <a href="https://publications.waset.org/abstracts/search?q=pedophilia" title=" pedophilia"> pedophilia</a> </p> <a href="https://publications.waset.org/abstracts/98933/nabokovs-lolita-externalization-of-contemporary-mind-in-the-configuration-of-hedonistic-aesthetics" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/98933.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">158</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">11290</span> Investigation and Research on Construction Technology of Tenon and Mortise in Traditional Chinese Architecture </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Liang%20Zhang">Liang Zhang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Chinese traditional architecture has developed a school of its own in the world. It has a different structure and construction technology from western architecture. Tenon and mortise structure and construction technology, as the key to the construction of traditional Chinese architecture, have been inherited for thousands of years by traditional craftsmen in various regions of China. However, the traditional architecture varies greatly in different times and regional cultures in China. It is still a lack of research whether this difference extends to mortise and tenon technology. In this study, we measured the mortise and tenon of traditional buildings in Fujian province, Yunnan province, and Northern China; Interviewed some old craftsmen about their traditional construction methods, And compared the today's traditional mortise and tenon technology with that of Song and Qing Dynasties. The results showed that although Chinese traditional architecture has the same origin, the mortise and tenon construction technology systems have been developed at different times, regions, and cultures. For example, tenon and mortise technology in Yunnan Province needs to ensure the ability of buildings to resist earthquakes, while that in Fujian Province needs to ensure the ability of buildings to withstand typhoons. People in different regions, cultures, and times have a different understanding of architectural aesthetics, and the evolution of tools also has different effects on mortise and tenon technology. This study explains the manifestations and causes of these differences. At the same time, due to the impact of modern architectural technology, mortise, and tenon, traditional technology is also rapidly disappearing. As a sorting and collection of mortise and tenon techniques of traditional Chinese architecture, this paper puts forward the corresponding traditional technology protection strategy, to guide the protection and maintenance of local traditional buildings. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=tenon%20and%20mortise" title="tenon and mortise">tenon and mortise</a>, <a href="https://publications.waset.org/abstracts/search?q=traditional%20Chinese%20architecture" title=" traditional Chinese architecture"> traditional Chinese architecture</a>, <a href="https://publications.waset.org/abstracts/search?q=traditional%20craftsmen" title=" traditional craftsmen"> traditional craftsmen</a>, <a href="https://publications.waset.org/abstracts/search?q=construction%20technology" title=" construction technology"> construction technology</a> </p> <a href="https://publications.waset.org/abstracts/107963/investigation-and-research-on-construction-technology-of-tenon-and-mortise-in-traditional-chinese-architecture" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/107963.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">147</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">11289</span> Examples from a Traditional Sismo-Resistant Architecture</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Amira%20Zatir">Amira Zatir</a>, <a href="https://publications.waset.org/abstracts/search?q=Abderahmane%20Mokhtari"> Abderahmane Mokhtari</a>, <a href="https://publications.waset.org/abstracts/search?q=Amina%20Foufa"> Amina Foufa</a>, <a href="https://publications.waset.org/abstracts/search?q=Sara%20Zatir"> Sara Zatir</a> </p> <p class="card-text"><strong>Abstract:</strong></p> It exists in several regions in the world, of numerous historic monuments, buildings and housing environment, built in traditional ways which survive for earthquakes, even in zones where the seismic risk is particularly raised. These constructions, stemming from vernacular architecture, allow, through their resistances in the time earthquakes, to identify the various sismo-resistant "local" techniques. Through the examples and the experiences presented, the remark which can be made, is that in the traditional built, two major principles in a way opposite, govern the constructions in earthquake-resistant. It is about the very big flexibility, whom answer very light constructions, like the Japanese wooden constructions, Turkish and even Chinese; that of the very big rigidity to which correspond constructions in masonry in particular stone, more or less heavy and massive, which we meet in particular in the Mediterranean Basin, and in the historic sanctuary of Machu Pacchu. In it sensible and well-reflected techniques of construction are added, of which the use of the humble materials such as the earth and the adobe. The ancient communities were able to face the seismic risks, thanks to them know-how reflected in their intelligently designed constructions, testifying of a local seismic culture. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=earthquake" title="earthquake">earthquake</a>, <a href="https://publications.waset.org/abstracts/search?q=architecture" title=" architecture"> architecture</a>, <a href="https://publications.waset.org/abstracts/search?q=traditional" title=" traditional"> traditional</a>, <a href="https://publications.waset.org/abstracts/search?q=construction" title=" construction"> construction</a>, <a href="https://publications.waset.org/abstracts/search?q=resistance" title=" resistance"> resistance</a> </p> <a href="https://publications.waset.org/abstracts/13976/examples-from-a-traditional-sismo-resistant-architecture" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/13976.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">420</span> </span> </div> </div> <ul class="pagination"> <li class="page-item disabled"><span class="page-link">&lsaquo;</span></li> <li class="page-item active"><span class="page-link">1</span></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=traditional%20artistic%20techniques&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=traditional%20artistic%20techniques&page=3">3</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=traditional%20artistic%20techniques&page=4">4</a></li> <li class="page-item"><a class="page-link" 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