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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="artist as a shaman"> <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> 116</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: artist as a shaman</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">116</span> Deconstruction of the Term 'Shaman' in the Metaphorical Pair 'Artist as a Shaman'</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ilona%20Ivova%20Anachkova">Ilona Ivova Anachkova</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The analogy between the artist and the shaman as both being practitioners that more easily recognize and explore spiritual matters, and thus contribute to the society in a unique way has been implied in both Modernity and Postmodernity. The Romantic conception of the shaman as a great artist who helps common men see and understand messages of a higher consciousness has been employed throughout Modernity and is active even now. This paper deconstructs the term ‘shaman’ in the metaphorical analogy ‘artist – shaman’ that was developed more fully in Modernity in different artistic and scientific discourses. The shaman is a figure that to a certain extent adequately reflects the late modern and postmodern holistic views on the world. Such views aim at distancing from traditional religious and overly rationalistic discourses. However, the term ‘shaman’ can be well substituted by other concepts such as the priest, for example. The concept ‘shaman’ is based on modern ethnographic and historical investigations. Its later philosophical, psychological and artistic appropriations designate the role of the artist as a spiritual and cultural leader. However, the artist and the shaman are not fully interchangeable terms. The figure of the shaman in ‘primitive’ societies has performed many social functions that are now delegated to different institutions and positions. The shaman incorporates the functions of a judge, a healer. He is a link to divine entities. He is the creative, aspiring human being that has heightened sensitivity to the world in both its spiritual and material aspects. Building the metaphorical analogy between the shaman and the artist comes in many ways. Both are seen as healers of the society, having propensity towards connection to spiritual entities, or being more inclined to creativity than others. The ‘shaman’ however is a fashionable word for a spiritual person used perhaps because of the anti-traditionalist religious modern and postmodern views. The figure of the priest is associated with a too rational, theoretical and detached attitude towards spiritual matters, while the practices of the shaman and the artist are considered engaged with spirituality on a deeper existential level. The term ‘shaman’ however does not have priority of other words/figures that can explore and deploy spiritual aspects of reality. Having substituted the term ‘shaman’ in the pair ‘artist as a shaman’ with ‘the priest’ or literally ‘anybody,' we witness destruction of spiritual hierarchies and come to the view that everybody is responsible for their own spiritual and creative evolution. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=artist%20as%20a%20shaman" title="artist as a shaman">artist as a shaman</a>, <a href="https://publications.waset.org/abstracts/search?q=creativity" title=" creativity"> creativity</a>, <a href="https://publications.waset.org/abstracts/search?q=extended%20theory%20of%20art" title=" extended theory of art"> extended theory of art</a>, <a href="https://publications.waset.org/abstracts/search?q=functions%20of%20art" title=" functions of art"> functions of art</a>, <a href="https://publications.waset.org/abstracts/search?q=priest%20as%20an%20artist" title=" priest as an artist"> priest as an artist</a> </p> <a href="https://publications.waset.org/abstracts/77054/deconstruction-of-the-term-shaman-in-the-metaphorical-pair-artist-as-a-shaman" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/77054.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">229</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">115</span> Contemporary Art of Healing: New Generation of Shamanism Ritual</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Yeaeun%20Jang">Yeaeun Jang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Shamanism, in general, has been steadily reinterpreted as research and art from cult, superstition, mysticism, and historical perspectives. Shamanism has existed throughout the five-thousand-year-old history of Korea, and it still actively is ongoing. It is interesting to observe how this tradition has had a profound impact on its current high-technology society. Many still ask Shamans for pieces of advice rituals for their problems to be solved. Historically, Korean shamanism has a strong connection and many similarities with Mongolian and Eastern Siberian Shamanism. 'God' is 'Nature'. 'Shaman' is a 'Mediator of communication chosen by God' and is a divine being who has entered the mysterious realm by challenging human limitations through harsh training. A shaman in ancient society used to be a leader of a group and entertainer who played various roles; king, counsellor, doctor, singer, dancer, painter, and performer. This artistic research focuses on the Shaman role as an artist with multiple mediums and reconstructing their ancient ritual into multimedia performing art that attempts to deal with traumatic memories in one’s life. This fusion style of contemporary ritual is mainly inspired by ‘Gut(굿)’, Korean Shamanism ritual. This comprehensive art needs several important elements; a shaman, a client, musicians, helpers, and the audience. It is a feast to gather people in a big circle. Nowadays, art has been divided into separate fields and developed, but before, there existed art of Synesthesia, whose boundaries were unclear that were not determined through which medium to express that abstract ideas. Multiple disciplines coexist and harmonise with each other. Studying shamanism ritual as an ancient form of performing art can create a warm, spiritual feast for everyone and remind us about ‘togetherness’. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=healing" title="healing">healing</a>, <a href="https://publications.waset.org/abstracts/search?q=multimedia%20art" title=" multimedia art"> multimedia art</a>, <a href="https://publications.waset.org/abstracts/search?q=performance%20art" title=" performance art"> performance art</a>, <a href="https://publications.waset.org/abstracts/search?q=shamanism" title=" shamanism"> shamanism</a>, <a href="https://publications.waset.org/abstracts/search?q=spirituality" title=" spirituality"> spirituality</a> </p> <a href="https://publications.waset.org/abstracts/147422/contemporary-art-of-healing-new-generation-of-shamanism-ritual" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/147422.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">100</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">114</span> Tom Stoppard: The Amorality of the Artist</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Majeed%20Mohammed%20Midhin">Majeed Mohammed Midhin</a>, <a href="https://publications.waset.org/abstracts/search?q=Clare%20Finburgh"> Clare Finburgh</a> </p> <p class="card-text"><strong>Abstract:</strong></p> To maintain a healthy balanced loyalty between art and politics posits a debatable issue. The artist is always on the look out for the potential tension between those two realms. Therefore, one of the most painful dilemmas the artist finds is how to function in a society without sacrificing the aesthetic values of his/her work. In other words, the life-long awareness of failure which derives from the concept of the artist as caught between unflattering social realities and the need to invent genuine art forms becomes a fertilizing soil for the artists to dig deep into its origin. Thus, within the framework of this dilemma, the question of the responsibility of the artist and the relationship of the art to politics will be illuminating. The present paper tackles the idea of the amorality of the artist in selected plays by Tom Stoppard. However, Stoppard’s awareness of his situation as a refugee has led him to keep at a distance from politics. He tried hard to avoid any intervention into the realms of political debate, especially in his earliest work. On the one hand, it is not meant that he did not interest in politics as such, but rather he preferred to question it than to create a fixed ideological position. On the other hand, Stoppard’s refusal to intervene in politics is ascribed to his feeling of gratitude to Britain where he settled. As a result, Stoppard has frequently been criticized for a lack of political engagement and also for not leaning too much for the left when he does engage. His reaction to these public criticisms finds expression in his self-conscious statements which defensively stressed the artifice of his work. He, like Oscar Wilde thinks that the responsibility of the artist is devoted to the realm of his/her art. Consequently, his consciousness for the role of the artist is truly reflected in his two plays, Artist Descending a Staircase(1972) and Travesties(1974). <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=amorality" title="amorality">amorality</a>, <a href="https://publications.waset.org/abstracts/search?q=dilemma" title=" dilemma"> dilemma</a>, <a href="https://publications.waset.org/abstracts/search?q=aesthetic" title=" aesthetic"> aesthetic</a>, <a href="https://publications.waset.org/abstracts/search?q=responsibility%20of%20the%20artist" title=" responsibility of the artist"> responsibility of the artist</a>, <a href="https://publications.waset.org/abstracts/search?q=political%20theatre" title=" political theatre"> political theatre</a> </p> <a href="https://publications.waset.org/abstracts/29772/tom-stoppard-the-amorality-of-the-artist" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/29772.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">397</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">113</span> Enhancing the Work of Art through Fashion Attire</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=A.%20N.%20Roslen">A. N. Roslen</a>, <a href="https://publications.waset.org/abstracts/search?q=S.%20A.%20Syed-Sahil"> S. A. Syed-Sahil</a>, <a href="https://publications.waset.org/abstracts/search?q=A.%20Musavir"> A. Musavir</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In Malaysia, there are only few fashion designers who are inspired by the work of artists when creating their collections. The researchers confirmed this statement by interviewing fashion experts in Malaysia. The objectives of this study are to: 1. Investigate the acceptance of fashion inspired by the work of art among consumers. 2. Encourage more designers to use work of art as their inspirations. 3. Promote Malaysian Artists through fashion. Thus, the researchers interviewed Malaysian fashion designers, image consultants, and one famous Malaysian Artist (Awang Damit). All of them had agreed that the fashion inspired by the work of art in Malaysia has a long way to go. Therefore, the researchers’ aim is to attract more fashion designers to use the work of local artists in their creations. The researchers had used interview, survey and experimentation as methods of this study. In the experimentation procedure, paintings of local artist, Awang Damit was used as a source of inspiration in creating a design Line. The result of this study had shown that fashion inspired by work of art is acknowledged and accepted by the designers and consumers. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=art" title="art">art</a>, <a href="https://publications.waset.org/abstracts/search?q=fashion" title=" fashion"> fashion</a>, <a href="https://publications.waset.org/abstracts/search?q=inspiration" title=" inspiration"> inspiration</a>, <a href="https://publications.waset.org/abstracts/search?q=local%20artist" title=" local artist "> local artist </a> </p> <a href="https://publications.waset.org/abstracts/24855/enhancing-the-work-of-art-through-fashion-attire" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/24855.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">460</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">112</span> Displacement and Cultural Capital in East Harlem: Use of Community Space in Affordable Artist Housing </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jun%20Ha%20Whang">Jun Ha Whang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> As New York City weathers a swelling 'affordability crisis' marked by rapid transformation in land development and urban culture, much of the associated scholarly debate has turned to questions of the underlying mechanisms of gentrification. Though classically approached from the point of view of urban planning, increasingly these questions have been addressed with an eye to understanding the role of cultural capital in neighborhood valuation. This paper will examine the construction of an artist-specific affordable housing development in the Spanish Harlem neighborhood of Manhattan in order to identify and discuss several cultural parameters of gentrification. This study’s goal is not to argue that the development in question, named Art space PS 109, straightforwardly increases or decreases the rate of gentrification in Spanish Harlem, but rather to study dynamics present in the construction of Art space PS 109 as a case study considered against the broader landscape of gentrification in New York, particularly with respect to the impact of artist communities on housing supply. In the end, what Art space PS 109 most valuably offers us is a reference point for a comparative analysis of affordable housing strategies currently being pursued within municipal government. Our study of Art space PS 109 has allowed us to examine a microcosm of the city’s response and evaluate its overall strategy accordingly. As a base line, the city must aggressively pursue an affordability strategy specifically suited to the needs of each of its neighborhoods. It must also conduct this in such a way so as not to undermine its own efforts by rendering them susceptible to the exploitative involvement of real estate developers seeking to identify successive waves of trendy neighborhoods. Though Art space PS 109 offers an invaluable resource for the city’s legitimate aim of preserving its artist communities, with such a high inclusion rate of artists from outside of the community the project risks additional displacement, strongly suggesting the need for further study of the implications of sites of cultural capital for neighborhood planning. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=artist%20housing" title="artist housing">artist housing</a>, <a href="https://publications.waset.org/abstracts/search?q=displacement" title=" displacement"> displacement</a>, <a href="https://publications.waset.org/abstracts/search?q=east%20Harlem" title=" east Harlem"> east Harlem</a>, <a href="https://publications.waset.org/abstracts/search?q=urban%20planning" title=" urban planning"> urban planning</a> </p> <a href="https://publications.waset.org/abstracts/80029/displacement-and-cultural-capital-in-east-harlem-use-of-community-space-in-affordable-artist-housing" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/80029.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">163</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">111</span> Godalisation: A Revisionist Conceptual Framework for Singapore’s Artistic Identity</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bernard%20Tan">Bernard Tan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The paper presents a conceptual framework which serves as an art model of Singapore artistic identity. Specifically, the study examines Singapore's artistic identity through the artworks of the country’s significant artists covering the period 1950s to the present. Literature review will discuss the challenges of favouring or choosing one artist over the other. Methodology provides an overview of the perspectives of local artists and surveys Singapore’s artistic histories through qualitative interviews and case studies. Analysis from qualitative data reveals that producing works of accrued visual significance for the country which captures it zeitgeist further strengthens artist’s artistic identity, and consequently, their works remembered by future generations. The paper presents a conceptual framework for Singapore’s artistic identity by categorising it into distinctive categories or Periods: Colonial Period (pre-1965); Nation Building Period (1965-1988); Globalisation Period (1989-2000); Paternal Production Period (2001-2015); and A New Era (2015-present). Godalisation, coined from God and Globalisation – by artist and art collector, Teng Jee Hum – is a direct reference to the godlike influence on Singapore by its founding Father, Mr Lee Kuan Yew, the country’s first Prime Minister who steered the city state “from Third World to First” for close to half a century, from 1965 to his passing in 2015. A detailed schema showing important factors in different art categories: key global geopolitics, key local social-politics, and significant events will be analysed in depth. Main artist groups or artist initiatives which evolved in Singapore during the different Periods from pre-1965 to the present will be categorized and discussed. Taken as a whole, all these periods collectively add up to the Godalisation Era; impacted by the social-political events and historical period of the nation, and captured through the visual representation of the country’s significant artists in their attempt at either visualizing or mythologizing the Singapore Story. The author posits a co-relation between a nation’s economic success and the value or price appreciation of the country’s artist of significance artworks. The paper posed a rhetorical question: “Which Singapore’s artist will historian of the future – and by extension, the people of the country from future generations – remember? Who will remain popular? Whilst which artists will be forgotten.” The searching question: “Who will survive, be remembered in the annals of history and, above all, how to ensure the survival of one’s nation artistic identity? The art that last will probably be determined by the future, in the future, where art historians pontificate from a later vantage point. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=artistic%20identity" title="artistic identity">artistic identity</a>, <a href="https://publications.waset.org/abstracts/search?q=art%20collection" title=" art collection"> art collection</a>, <a href="https://publications.waset.org/abstracts/search?q=godalisation" title=" godalisation"> godalisation</a>, <a href="https://publications.waset.org/abstracts/search?q=singapore" title=" singapore"> singapore</a> </p> <a href="https://publications.waset.org/abstracts/186361/godalisation-a-revisionist-conceptual-framework-for-singapores-artistic-identity" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/186361.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">38</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">110</span> Positive Disruption: Towards a Definition of Artist-in-Residence Impact on Organisational Creativity</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Denise%20Bianco">Denise Bianco</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Several studies on innovation and creativity in organisations emphasise the need to expand horizons and take on alternative and unexpected views to produce something new. This paper theorises the potential impact artists can have as creative catalysts, working embedded in non-artistic organisations. It begins from an understanding that in today's ever-changing scenario, organisations are increasingly seeking to open up new creative thinking through deviant behaviours to produce innovation and that art residencies need to be critically revised in this specific context in light of their disruptive potential. On the one hand, this paper builds upon recent contributions made on workplace creativity and related concepts of deviance and disruption. Research suggests that creativity is likely to be lower in work contexts where utter conformity is a cardinal value and higher in work contexts that show some tolerance for uncertainty and deviance. On the other hand, this paper draws attention to Artist-in-Residence as a vehicle for epistemic friction between divergent and convergent thinking, which allows the creation of unparalleled ways of knowing in the dailiness of situated and contextualised social processes. In order to do so, this contribution brings together insights from the most relevant theories on organisational creativity and unconventional agile methods such as Art Thinking and direct insights from ethnographic fieldwork in the context of embedded art residencies within work organisations to propose a redefinition of Artist-in-Residence and their potential impact on organisational creativity. The result is a re-definition of embedded Artist-in-Residence in organisational settings from a more comprehensive, multi-disciplinary, and relational perspective that builds on three focal points. First the notion that organisational creativity is a dynamic and synergistic process throughout which an idea is framed by recurrent activities subjected to multiple influences. Second, the definition of embedded Artist-in-Residence as an assemblage of dynamic, productive relations and unexpected possibilities for new networks of relationality that encourage the recombination of knowledge. Third, and most importantly, the acknowledgment that embedded residencies are, at the very essence, bi-cultural knowledge contexts where creativity flourishes as the result of open-to-change processes that are highly relational, constantly negotiated, and contextualised in time and space. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=artist-in-residence" title="artist-in-residence">artist-in-residence</a>, <a href="https://publications.waset.org/abstracts/search?q=convergent%20and%20divergent%20%20thinking" title=" convergent and divergent thinking"> convergent and divergent thinking</a>, <a href="https://publications.waset.org/abstracts/search?q=creativity" title=" creativity"> creativity</a>, <a href="https://publications.waset.org/abstracts/search?q=creative%20friction" title=" creative friction"> creative friction</a>, <a href="https://publications.waset.org/abstracts/search?q=deviance%20and%20creativity" title=" deviance and creativity"> deviance and creativity</a> </p> <a href="https://publications.waset.org/abstracts/155729/positive-disruption-towards-a-definition-of-artist-in-residence-impact-on-organisational-creativity" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/155729.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">97</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">109</span> The Art of Contemporary Arabic Calligraphy in Oman: Salman Alhajri as an Example </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Salman%20Amur%20Alhajri">Salman Amur Alhajri</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Purpose: This paper explores the art of contemporary Arabic calligraphy in Oman. It explains the aesthetic features of Arabic calligraphy as a unique icon of Islamic art. This paper also explores the profile of one Omani artist, Salman Alhajri, as an example of Omani artists who have developed unique styles in this art stream. Methodology and approach: The paper is based on a theoretical study using a descriptive and case-study approach. Omani artists are fascinated by the art forms of Arabic calligraphy, which combine both spiritual meaning and aesthetic beauty. Artist Salman Alhajri is an example of a contemporary Arabic artist who uses Arabic calligraphy as the main theme in his art. Dr. Alhajri is trying to introduce the beauty of Arabic letters from a new aesthetic point of view. He also aims to create unusual visual effects that viewers can easily interact with. Even though words and phrases appear in Alhajri’s artwork, they are not conveying direct meanings: viewers can create their own meaning or expressions from them by appreciating the compositions of the artwork. Results: Arabic writing is directly related to the identity of Omani artists and their cultural background. This paper shows how the beauty of Arabic letters comes from its indefinite possibilities in designing calligraphic expressions, even within a single word, because letters can be stretched and transformed in various ways to create different compositions. Omani artists are interested in employing new media applications in this kind of practice to find new techniques for creating artwork based on Arabic writing. It is really important for all Omani artists to practice this art style because Arabic calligraphy and its flexibility introduce infinite possibilities that involve further exploration and investigation. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Islamic%20art" title="Islamic art">Islamic art</a>, <a href="https://publications.waset.org/abstracts/search?q=contemporary%20Arabic%20calligraphy" title=" contemporary Arabic calligraphy"> contemporary Arabic calligraphy</a>, <a href="https://publications.waset.org/abstracts/search?q=new%20techniques" title=" new techniques"> new techniques</a>, <a href="https://publications.waset.org/abstracts/search?q=Omani%20artist" title=" Omani artist"> Omani artist</a> </p> <a href="https://publications.waset.org/abstracts/23092/the-art-of-contemporary-arabic-calligraphy-in-oman-salman-alhajri-as-an-example" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/23092.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">360</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">108</span> Researching and Interpreting Art: Analyzing Whose Voice Matters</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Donna%20L.%20Roberts">Donna L. Roberts</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Beyond the fundamental question of what is (and what isn’t) art, one then moves to the question of what about art, or a specific artwork, matters. If there is an agreement that something is art, the next step is to answer the obvious, ‘So what? What does it mean?’ In answering these questions, one must decide how to focus the proverbial microscope –i.e., what level of perspective is relevant as a point of view for this analysis- the artwork itself, the artist’s intention, the viewer’s interpretation, the artwork’s reflection of the larger artistic movement, the social, political, and historical context of art? One must determine what product and what contexts are meaningful when experiencing and interpreting art. Is beauty really in the eye of the beholder? Or is it more important what the creator was trying to say than what the critic or observer heard? The fact that so many artists –from Rembrandt to Van Gogh to Picasso- include among their works at least one self-portrait seems to scream their point –I matter. But, Is a piece more impactful because of the persona behind it? Or does that persona impose limits and close one’s mind to the possibilities of interpretation? In the popular art text visual culture, Richard Howells argues against a biographical focus on the artist in the analysis of art. Similarly, abstract expressionist Mark Rothko, along with several of his contemporaries of the genre, often did not title his paintings for the express purpose of not imposing a specific meaning or interpretation on the piece. And yet, he once said, ‘The people who weep before my pictures are having the same religious experience I had when I painted them,’ thus alluding to a desire for a shared connection and revelation. This research analyzes the arguments for differing levels of interpretation and points of view when considering a work of art and/or the artist who created it. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=art%20analysis" title="art analysis">art analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=art%20interpretation" title=" art interpretation"> art interpretation</a>, <a href="https://publications.waset.org/abstracts/search?q=art%20theory" title=" art theory"> art theory</a>, <a href="https://publications.waset.org/abstracts/search?q=artistic%20perspective" title=" artistic perspective"> artistic perspective</a> </p> <a href="https://publications.waset.org/abstracts/130217/researching-and-interpreting-art-analyzing-whose-voice-matters" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/130217.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">149</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">107</span> Communicating Through Symbolisms in Anthropoligical Medicine with Reference to Traditional Performances of Wayang Kulit, Main Puteri and Kuda Kepang</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=M.%20G.%20Nasuruddin">M. G. Nasuruddin</a>, <a href="https://publications.waset.org/abstracts/search?q=S.%20Ishak"> S. Ishak</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In anthropological medicine (traditional therapeutic healing) symbolic interface are used to connect with the cognitive and metacognitive mechanisms to activate conscious and unconscious response of patients or other recipients. At the same time they are used to communicate with the inhabitants of the nether world to whom are ascribed almost all cases of psychosomatic illness. The symbols, which are cultural specific, are divided into verbal and non-verbal forms of communication. The verbal forms are chanting of mantra and doa and the invocation to invoke the spirits while the non-verbal ones are the physical materials such as the offerings, props and decorative elements, music, movements, olfactory sensation and the performance space. The process of communication through these symbols is affected by the Shaman who is a link or intermediary between the healer (Shaman) and the patients and between the healer and the spirits of the nether world. The paper also examines the scientific perspective of the traditional healing through the use of these symbols. The response to these symbols as external stimuli is embedded in the genes that are linked to the hereditary factor in the person’s DNA. When the patients are tuned in to external stimuli such as music, chanting and singing (sonic orders), it can triggers a response from the brain, which may activate its inner pharmacy by releasing drugs such as dopamine and/or opiodsto ameliorate pain and counter depression, anxiety and create a feel good feeling. These symbols act like placebo, evoking the power of the mind over the body and triggering the innate self-healing energy. At the same time they could also be used as nocebo, for example black magic, which has the opposite effect of placebo. In whatever capacity they operate these symbols, which are either visual or auditory, is an integral part of anthropological medicine. For they communicate and conjure emotional responses that are conducive to healing by activating the internal brain pharmacy. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=communication" title="communication">communication</a>, <a href="https://publications.waset.org/abstracts/search?q=healing" title=" healing"> healing</a>, <a href="https://publications.waset.org/abstracts/search?q=placebo" title=" placebo"> placebo</a>, <a href="https://publications.waset.org/abstracts/search?q=nacebo" title=" nacebo"> nacebo</a>, <a href="https://publications.waset.org/abstracts/search?q=symbol" title=" symbol"> symbol</a> </p> <a href="https://publications.waset.org/abstracts/14881/communicating-through-symbolisms-in-anthropoligical-medicine-with-reference-to-traditional-performances-of-wayang-kulit-main-puteri-and-kuda-kepang" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/14881.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">442</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">106</span> The Aesthetic Manifestations of Nothingness in Contemporary Visual Arts Practice</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Robyn%20Therese%20Munnick">Robyn Therese Munnick</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper aims to report on a qualitative practice-based research study which explores the notion of nothingness and how it (nothingness) is the conceptual and theoretical foundation for artistic practice. Furthermore, this study explicates how the artist used their mother’s battle with cancer and the subsequent void it created as source material for the artistic expression of nothingness. The diagnosis which was followed by a physical and emotional absence of the matriarch of the artist family led to an emotional trauma that triggered a feeling of nothingness within the artist. The overarching problem in the study is thus: how this ‘nothingness’ could be expressed in visual art? Nothingness, as a product of expectation, is a notion which refers to where something used to be, should be or isn’t anymore, which attempts to grasp what is there by not being there. In attempting to express nothingness, the research aims to build on an exploration of various materials and modes utilized in order to underpin the research objectives. The primary mode of delivery for the art-making process is painting. However, through strengthening the messages and meaning of the hypothesis of nothingness within the art and research, the use of further modes and materials became pivotal. This involves the use of unconventional contrasting modes within a painting such as the cloth doily, thread, tubing, ceramics, food colour, spray paint, polyvinyl acetate paint, plaster, wooden boxes and fragments thereof. These materials and modes were vital in visualising and aestheticising the conceptual underpinnings of the research. As a result, this strengthened and emancipated the art from the traditional bounds of pure painting. Methods of data gathering took the form of artefacts, document analysis, and field notes in the form of photographic journaling. Ultimately the body of work and research validates that the idea of nothingness can be artistically explored. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=conceptual" title="conceptual">conceptual</a>, <a href="https://publications.waset.org/abstracts/search?q=nothingness" title=" nothingness"> nothingness</a>, <a href="https://publications.waset.org/abstracts/search?q=modes" title=" modes"> modes</a>, <a href="https://publications.waset.org/abstracts/search?q=unconventional" title=" unconventional"> unconventional</a> </p> <a href="https://publications.waset.org/abstracts/109447/the-aesthetic-manifestations-of-nothingness-in-contemporary-visual-arts-practice" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/109447.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">140</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">105</span> Vieira Da Silva's Tiles at Universidade Federal Rural Do Rio de Janeiro: A Conservation and Restoration Project</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Adriana%20Anselmo%20Oliveira">Adriana Anselmo Oliveira</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The present project showcases a tile work from the Franco-Portuguese artist Maria Helena Vieira da Silva (1908-1992). It is a set of 8 panels composed of figurative and geometric tiles, with extra tiles framing nearby doors and windows in a study room in the (UFRRJ, Universidade Federal Rural do Rio de Janeiro). The aforementioned work was created between 1942 and 1943, during the artist's 6 year exile in the Brazilian city. This one-of-a-kind tileset was designed and made by Vieira da Silva between 1942 and 1943. Over the years, several units were lost, which led to their replacement in the nineties. However, these replacements don't do justice to the original work of art. In 2007, a project was initiated to fully repair and maintain the set. Three panels are removed and restored, but the project is halted. To this day, the three fully restored panels remain in boxes. In 2016 a new restoration project is submitted by the (Faculdade de Belas Artes da Universidade de Lisboa) in collaboration with de (Fundacão Árpád Szenes-Vieira da Silva). There are many varied opinions on restoring and conserving older pieces of art, however, we have the moral duty to safeguard the original materials used by the artist along with the artists original vision and also to care for the future generations of students who will use the space in which the tile-work was inserted. Many tiles have been replaced by white tiles, tiles with a divergent colour pallet and technique, and in a few cases, the incorrect place or way around. These many factors make it increasingly difficult to maintain the artists original vision and destroy and chance of coherence within the artwork itself. The conservative technician cannot make new images to fill the empty spaces or mark the remaining images with their own creative input. with reliable photographic documentation that can provide us with the necessary vision to allow us to proceed with an accurate reconstruction, we have the obligation to proceed and return the piece of art to its true form, as in its current state, it is impossible to maintain its original glory. Using the information we have, we must find a way to differentiate the original tiles from the reconstructions in order to recreate and reclaim the original message from the artist. The objective of this project is to understand the significance of tiles in Vieira da Silva's art as well as the influence they had on the artist's pictorial language since the colour definition on tile work is vastly different from the painting process as the materials change during their merger. Another primary goal is to understand what the previous interventions achieved besides increasing the artworks durability. The main objective is to submit a proposal that can salvage the artist's visual intention and supports it for posteriority. In summary, this proposal goes further than the usual conservative interventions as it intends to recreate the original artistic worth, prioritising the aesthetics and keeping its soul alive. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Vieira%20da%20Silva" title="Vieira da Silva">Vieira da Silva</a>, <a href="https://publications.waset.org/abstracts/search?q=tiles" title=" tiles"> tiles</a>, <a href="https://publications.waset.org/abstracts/search?q=conservation" title=" conservation"> conservation</a>, <a href="https://publications.waset.org/abstracts/search?q=restoration" title=" restoration"> restoration</a> </p> <a href="https://publications.waset.org/abstracts/137916/vieira-da-silvas-tiles-at-universidade-federal-rural-do-rio-de-janeiro-a-conservation-and-restoration-project" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/137916.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">156</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">104</span> The Family Resemblance in the Handwriting of Painters: Jacek and Rafał Malczewski’s Case</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Olivia%20Rybak-Karkosz">Olivia Rybak-Karkosz</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper aims to present the results of scientific research on family resemblance in the handwriting of painters. Such a problem is known in handwriting analysis, but it was never a research subject in the scope of painters' signatures on works of art. For this research, the author chose Jacek, and Rafał Malczewski (father and son) as many of their paintings are in museums, and most of them are signed. The aim was to create a catalogue of traits similar to the handwriting of both artists. Such data could be helpful for the expert’s opinion in the decision-making process to establish whether the signature is authentic and, if so, whether it is the artist whose signature is analysed, not the other family member. There are known examples of relatives of the artists who signed their works. Many of them were artists themselves. For instance Andrzej Wróblewski’s mother, Krystyna was a printmaker. To save his legacy, she signed many of her son’s works after his death using his name. This research methodology consisted of completing representative samples of signatures of both artists, which were collected in selected Polish museums. Then a catalogue of traits was created using a forensic handwriting graphic-comparative method (graphic method). The paper contains a concluding statement that it could be one of the elements of research in an expert’s analysis of the authenticity of the signature on paintings. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=artist%E2%80%99s%20signatures" title="artist’s signatures">artist’s signatures</a>, <a href="https://publications.waset.org/abstracts/search?q=authenticity%20of%20an%20artwork" title=" authenticity of an artwork"> authenticity of an artwork</a>, <a href="https://publications.waset.org/abstracts/search?q=forensic%20handwriting%20analysis" title=" forensic handwriting analysis"> forensic handwriting analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=graphic-comparative%20method" title=" graphic-comparative method"> graphic-comparative method</a> </p> <a href="https://publications.waset.org/abstracts/152838/the-family-resemblance-in-the-handwriting-of-painters-jacek-and-rafal-malczewskis-case" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/152838.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">83</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">103</span> The Artist and the Opera: An Analysis of Gaze, Spatiality, and Women’s Labor in Degas’s The Rehearsal of the Ballet Onstage, 1874</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Moses%20Abrahamson">Moses Abrahamson</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper examines Edgar Degas’s The Rehearsal of the Ballet Onstage (1874) through the lens of gaze, spatiality, and women’s labor within the context of 19th-century Parisian modernity. Degas’s depiction of ballet dancers, who were often subject to sexual exploitation by wealthy patrons of the Paris Opera, extends beyond a mere aesthetic rendering of performance. Instead, the painting highlights the Opera’s backstage dynamics, where class and gender intersect through power imbalances. By analyzing the gazes of the Opera’s male patrons and ballet masters, the paper explores the implicit commodification of the dancers, drawing on Mulvey’s theory of the male gaze and its manifestation in the portrayal of working-class women. Degas’s positioning of these figures, coupled with his perspective as both artist and patron, reveals his engagement with the spatial layout of the Opera and the modern social hierarchies it embodies. The painting serves as a microcosm of broader sociocultural transformations, where Degas reflects on the labor of ballet dancers as both private toil and public spectacle, connecting his artistic process to the gendered and classed politics of modern Parisian society. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=class%20dynamics" title="class dynamics">class dynamics</a>, <a href="https://publications.waset.org/abstracts/search?q=male%20gaze" title=" male gaze"> male gaze</a>, <a href="https://publications.waset.org/abstracts/search?q=spatiality" title=" spatiality"> spatiality</a>, <a href="https://publications.waset.org/abstracts/search?q=modernity" title=" modernity"> modernity</a> </p> <a href="https://publications.waset.org/abstracts/192664/the-artist-and-the-opera-an-analysis-of-gaze-spatiality-and-womens-labor-in-degass-the-rehearsal-of-the-ballet-onstage-1874" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/192664.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">26</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">102</span> Phase Shifter with Frequency Adaptive Control Circuit</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hussein%20Shaman">Hussein Shaman</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study introduces an innovative design for an RF phase shifter that can maintain a consistent phase shift across a broad spectrum of frequencies. The proposed design integrates an adaptive control system into a reflective-type phase shifter, typically showing frequency-related variations. Adjusting the DC voltage according to the frequency ensures a more reliable phase shift across the frequency span of operation. In contrast, conventional frequency-dependent reflective-type phase shifters may exhibit significant fluctuations in phase shifts exceeding 60 degrees in the same bandwidth. The proposed phase shifter is configured to deliver a 90-degree operation with an expected deviation of around 15 degrees. The fabrication of the phase shifter and adaptive control circuit has been verified through experimentation, with the measured outcomes aligning with the simulation results. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=phase%20shifter" title="phase shifter">phase shifter</a>, <a href="https://publications.waset.org/abstracts/search?q=adaptive%20control" title=" adaptive control"> adaptive control</a>, <a href="https://publications.waset.org/abstracts/search?q=varactors" title=" varactors"> varactors</a>, <a href="https://publications.waset.org/abstracts/search?q=electronic%20circuits." title=" electronic circuits."> electronic circuits.</a> </p> <a href="https://publications.waset.org/abstracts/182584/phase-shifter-with-frequency-adaptive-control-circuit" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/182584.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">63</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">101</span> The Visible Third: Female Artists’ Participation in the Portuguese Contemporary Art World</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sonia%20Bernardo%20Correia">Sonia Bernardo Correia</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper is part of ongoing research that aims to understand the role of gender in the composition of the Portuguese contemporary art world and the possibilities and limits to the success of the professional paths of women and men artists. The field of visual arts is gender-sensitive as it differentiates the positions occupied by artists in terms of visibility and recognition. Women artists occupy a peripheral space, which may hinder the progression of their professional careers. Based on the collection of data on the participation of artists in Portuguese exhibitions, art fairs, auctions, and art awards between 2012 and 2019, the goal of this study is to portray female artists’ participation as a condition of professional, social, and cultural visibility. From the analysis of a significant sample of institutions from the artistic field, it was possible to observe that the works of female authors are under exhibited, never exceeding one-third of the total of exhibitions. Male artists also enjoy a comfortable majority as gallery artists (around 70%) and as part of institutional collections (around 80%). However, when analysing the younger age cohorts of artists by gender, it appears that there is representation parity, which may be a good sign of change. The data shows that there are persistent gender inequalities in accessing the artist profession. Women are not yet occupying positions of exposure, recognition, and legitimation in the market similar to those of their male counterparts, suggesting that they may face greater obstacles in experiencing successful professional trajectories. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=inequalities" title="inequalities">inequalities</a>, <a href="https://publications.waset.org/abstracts/search?q=invisibility%20of%20the%20woman%20artist" title=" invisibility of the woman artist"> invisibility of the woman artist</a>, <a href="https://publications.waset.org/abstracts/search?q=gender" title=" gender"> gender</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20arts" title=" visual arts"> visual arts</a> </p> <a href="https://publications.waset.org/abstracts/136535/the-visible-third-female-artists-participation-in-the-portuguese-contemporary-art-world" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/136535.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">136</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">100</span> Cut-Out Animation as an Technic and Development inside History Process</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Armagan%20Gokcearslan">Armagan Gokcearslan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The art of animation has developed very rapidly from the aspects of script, sound and music, motion, character design, techniques being used and technological tools being developed since the first years until today. Technical variety attracts a particular attention in the art of animation. Being perceived as a kind of illusion in the beginning; animations commonly used the Flash Sketch technique. Animations artists using the Flash Sketch technique created scenes by drawing them on a blackboard with chalk. The Flash Sketch technique was used by primary animation artists like Emile Cohl, Winsor McCay ande Blackton. And then tools like Magical Lantern, Thaumatrope, Phenakisticope, and Zeotrap were developed and started to be used intensely in the first years of the art of animation. Today, on the other hand, the art of animation is affected by developments in the computer technology. It is possible to create three-dimensional and two-dimensional animations with the help of various computer software. Cut-out technique is among the important techniques being used in the art of animation. Cut-out animation technique is based on the art of paper cutting. Examining cut-out animations; it is observed that they technically resemble the art of paper cutting. The art of paper cutting has a rooted history. It is possible to see the oldest samples of paper cutting in the People’s Republic of China in the period after the 2. century B.C. when the Chinese invented paper. The most popular artist using the cut-out animation technique is the German artist Lotte Reiniger. This study titled “Cut-out Animation as a Technic and Development Inside History Process” will embrace the art of paper cutting, the relationship between the art of paper cutting and cut-out animation, its development within the historical process, animation artists producing artworks in this field, important cut-out animations, and their technical properties. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cut-out" title="cut-out">cut-out</a>, <a href="https://publications.waset.org/abstracts/search?q=paper%20art" title=" paper art"> paper art</a>, <a href="https://publications.waset.org/abstracts/search?q=animation" title=" animation"> animation</a>, <a href="https://publications.waset.org/abstracts/search?q=technic" title=" technic"> technic</a> </p> <a href="https://publications.waset.org/abstracts/62712/cut-out-animation-as-an-technic-and-development-inside-history-process" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/62712.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">275</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">99</span> The Amalgamation of Fashion and Art: A Camaraderie of the Creative Abilities</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Brar%20Prabhdip">Brar Prabhdip</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Art and fashion are coupled by a common bridge which is ‘Creativity’. For centuries art has influenced fashion and has been inspirational for modern-day national as well as international designers. Italian artists during the Renaissance period were highly influenced by art. 20th and 21st-century artists have often found themselves the muses of major fashion houses. Many times artists and designers like Andy Warhol, Damien Hirst, and Dior, Prada, respectively, have collaborated and successfully created prints, textiles, and silhouettes that have dazzled the art and fashion world. This paper nudges deeper and discourses the statement pieces of remarkable designers that have been influenced by art and adorned by international celebrities. Indian designer Manish Arora has been able to design a remarkable position for himself in the international fashion world. His clothes are avant-garde and favoured choice of celebrities like Lady Gaga and Katy Perry. The Manish Arora collaboration with Berlin-based artist Amrie Hoffstater has carved its space for a new segment. The latest collaboration, despite being in the pandemic, is between Sabyasachi (India) and Bergdorfs Goodman (New York). It boasts of the traditional Colonial Indian sensibility juxtaposed with the eclectic Western American mix for the new-age wearer. A qualitative and exploratory research design is steered towards both art and fashion as they reflect social, economic, and political changes. Social issues are highlighted through these platforms. Secondary data has been used for this paper to explain how designers have bridged the way for how one could wear fashion as a piece of art in and of itself. Conclusively we reach the perfect camaraderie between art and fashion. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=art" title="art">art</a>, <a href="https://publications.waset.org/abstracts/search?q=artist" title=" artist"> artist</a>, <a href="https://publications.waset.org/abstracts/search?q=collaboration" title=" collaboration"> collaboration</a>, <a href="https://publications.waset.org/abstracts/search?q=designer" title=" designer"> designer</a>, <a href="https://publications.waset.org/abstracts/search?q=fashion" title=" fashion"> fashion</a>, <a href="https://publications.waset.org/abstracts/search?q=relationship%20commas" title=" relationship commas"> relationship commas</a> </p> <a href="https://publications.waset.org/abstracts/169840/the-amalgamation-of-fashion-and-art-a-camaraderie-of-the-creative-abilities" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/169840.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">87</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">98</span> An Empty Canvas is Full</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Joonha%20Park">Joonha Park</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This essay examines the Soviet Artist Pavel Korin’s artistic pursuit towards his life-long project, “Requiem/Passing of the Rus,” framing the funeral of Tikhon, the last great defender of the Russian orthodox Church during the Great purge, as the final moment of “Rus,” which is the identity of the Russian people that built up in the 1000 year of history behind Russian Orthodoxy. Korin’s project remains in the form of a series of 29 man-sized portraits and a monumental blank canvas. Born in a family dedicated to iconography, Korin witnessed the historic drama during Stalin’s terror; therefore, he tried to convey the nation’s mourning for the disappearance of “Rus” and disapproval of the Soviet notion of atheism. Yet, due to Korin’s success as a state artist, many believed that the political pressure led Korin to give up his belief and controversy arose over the fact that Korin left the canvas blank. The empty 40-square-meter canvas, which remains untouched in his studio since 1930, supports this theory to an extent. However, resources such as Korin’s notes, primary accounts from his fellow Soviet Artists, and testimonies from his wife suggested that this assumption is incorrect. Moreover, Korin’s uninterrupted relationship with the church and the religious attributes in his commissioned works were brought up as evidence of Korin’s continued belief. The empty canvas not only represents Korin’s discontentment towards the repression and the hardships that the Orthodox Church experienced, but also depicts the identity that coexisted with the Church in order to bequeath this idea to future generations. The faultless canvas surrounded by the striking 29 portraits is a symbol of the highest spirit, similar to that of the iconography paintings placed in every Russian house that unites the Russian people till this day, therefore one can deduce that the legacy of “Requiem” is still relevant to the Russian people even under freedom of religious expression. Consequently, “Requiem” was on display at the Tretyakov Gallery for the first time in public in 2013 even though Korin started creating this piece in 1925, extolling Korin not only as an artist but also as a historian; by recording the turmoil of the Great Oppression, Korin exhibited the social responsibility universal to artists across time and space. In this essay, the legacy Korin left behind, both to his contemporaries and his posterity is reevaluated through the lens of his works, unfinished as they were. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Pavel%20Korin" title="Pavel Korin">Pavel Korin</a>, <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=Art" title=" Art"> Art</a>, <a href="https://publications.waset.org/abstracts/search?q=Russia" title=" Russia"> Russia</a>, <a href="https://publications.waset.org/abstracts/search?q=Soviet%20Union" title=" Soviet Union"> Soviet Union</a>, <a href="https://publications.waset.org/abstracts/search?q=Requiem" title=" Requiem"> Requiem</a>, <a href="https://publications.waset.org/abstracts/search?q=Russian%20orthodox%20church" title=" Russian orthodox church"> Russian orthodox church</a>, <a href="https://publications.waset.org/abstracts/search?q=Treytyakov%20gallery" title=" Treytyakov gallery"> Treytyakov gallery</a>, <a href="https://publications.waset.org/abstracts/search?q=contemporary%20art" title=" contemporary art"> contemporary art</a>, <a href="https://publications.waset.org/abstracts/search?q=socialist%20realism" title=" socialist realism"> socialist realism</a>, <a href="https://publications.waset.org/abstracts/search?q=Maxim%20Gorky" title=" Maxim Gorky"> Maxim Gorky</a> </p> <a href="https://publications.waset.org/abstracts/34761/an-empty-canvas-is-full" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/34761.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">417</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">97</span> Compact Microstrip Ultra-Wideband Bandstop Filter With Quasi-Elliptic Function Response</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hussein%20Shaman">Hussein Shaman</a>, <a href="https://publications.waset.org/abstracts/search?q=Faris%20Almansour"> Faris Almansour</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper proposes a modified optimum bandstop filter with ultra-wideband stopband. The filter consists of three shunt open-circuited stubs and two non-redundant unit elements. The proposed bandstop filter is designed with unequal electrical lengths of the open-circuited stubs at the mid-stopband. Therefore, the filter can exhibit a quasi-elliptic function response that improves the selectivity and enhances the rejection bandwidth. The filter is designed to exhibit a fractional bandwidth of about 114% at a mid-stopband frequency of 3.0 GHz. The filter is successfully realized in theory, simulated, fabricated and measured. An excellent agreement is obtained between calculated, simulated and measured. The fabricated filter has a compact size with a low insertion loss in the passbands, high selectivity and good attenuation level inside the desired stopband <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=microstrip%20filter" title="microstrip filter">microstrip filter</a>, <a href="https://publications.waset.org/abstracts/search?q=bandstop%20filter" title=" bandstop filter"> bandstop filter</a>, <a href="https://publications.waset.org/abstracts/search?q=UWB%20filter" title=" UWB filter"> UWB filter</a>, <a href="https://publications.waset.org/abstracts/search?q=transmission%20line%20filter" title=" transmission line filter"> transmission line filter</a> </p> <a href="https://publications.waset.org/abstracts/151305/compact-microstrip-ultra-wideband-bandstop-filter-with-quasi-elliptic-function-response" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/151305.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">148</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">96</span> Identity and Disability in Contemporary East Asian Dance</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sanghyun%20Park">Sanghyun Park</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Influenced by the ideas of collectivism, East Asian contemporary dance is marked by an emphasis on unity and synchronization. A growing element of this discipline that disrupts the path that strives to attain perfection, requiring coordination between multiple parties in order to produce work of their highest artistic potential, with the support from individuals or groups is the presence of disabled dancers. Kawanaka Yo, a Japanese dancer with a mental disability, argues through her '“Dance of Peace' that a dancer should focus on her impulses and natural thoughts through improvisational dancing and eschewal of documentation. Professor and poet Jung-Gyu Jeong, co-founder of the Korea Disability International Art Company, demonstrates with his company’s modernized performances of popular works and musicals that disabled artists do not need perfection so long as they can assert their finesse to mimic or create an equivalence with able-bodied dancers. Yo has studied various forms of modern dance and ballet in Japan and has used her training to ease her mental disability but also accept her handicap as an extension of her identity, representing a trend in disabled dance that favors individuality and acceptance. In contrast, Jeong is an influential figure in South Korea for disabled dancers and artists, believing that disabled artists must overcome a certain threshold in order to reach a status as an artist that is equivalent to a 'normal artist.' East Asian art created by the disabled should not be judged according to different criteria or rubrics compared to able-bodied artists because, as Yo explains, a person’s identity and her handicaps characterize the meaning of, and the value of, the piece. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=disability%20studies" title="disability studies">disability studies</a>, <a href="https://publications.waset.org/abstracts/search?q=modern%20dance" title=" modern dance"> modern dance</a>, <a href="https://publications.waset.org/abstracts/search?q=East%20Asia" title=" East Asia"> East Asia</a>, <a href="https://publications.waset.org/abstracts/search?q=politics%20of%20identity" title=" politics of identity"> politics of identity</a> </p> <a href="https://publications.waset.org/abstracts/82109/identity-and-disability-in-contemporary-east-asian-dance" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/82109.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">209</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">95</span> The Stylistic Representation of Subjectivity in Exemplary Written and Audiovisual Biographical Records about the Brazilian Modernist Artist Tarsila Do Amaral</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Juliane%20Noack%20Napoles">Juliane Noack Napoles</a>, <a href="https://publications.waset.org/abstracts/search?q=Vivian%20Martins%20Nogueira%20Napoles"> Vivian Martins Nogueira Napoles</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper operates at the stylistic level of biographical records about the artist Tarsila do Amaral (1886-1973) and the various biographical modes of representation of her subjectivity. Tarsila do Amaral was a Brazilian nationalistic painter, who took part in the first half of the last century in the Antoprofágico Moviment and in the Surrealistic Movement - artistic movements that emerged in the 1920’s. The paper will be developed in the field of Cultural and Media Science and based on an understanding of biography as a subgenre of historical records that will be discussed. Doing that, the theoretical principles about the history genre will also be discussed. In this context, the analytical focus of the present project is the stylistic forms of representation of subjectivity in the postmodern period as expressed in written and audiovisual biographical representation of Tarsila do Amaral. Some exemplary audiovisual biographical records about Tarsila do Amaral will be first analyzed on their own. Then, they will be related to some written biographical records about the painter. At the end, both written and audiovisual records and their stylistic forms of representation of Tarsila do Amaral’s subjectivity are going be analyzed. Tarsila do Amaral will be considered as a Subject Form, following actual concepts about this term in Cultural Studies. For these purposes, it will also be discussed about cultural identity – gender and national identity – and developed a heuristic model so that different understandings and conceptual proposals correlate, including those pertaining to the terms biography, gender, identity, mediality, style, subject and subjectivity. This model will finally be used for the analysis of the selected biographical records. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=biography" title="biography">biography</a>, <a href="https://publications.waset.org/abstracts/search?q=gender" title=" gender"> gender</a>, <a href="https://publications.waset.org/abstracts/search?q=identity" title=" identity"> identity</a>, <a href="https://publications.waset.org/abstracts/search?q=modernism" title=" modernism"> modernism</a>, <a href="https://publications.waset.org/abstracts/search?q=postmodernism" title=" postmodernism"> postmodernism</a>, <a href="https://publications.waset.org/abstracts/search?q=style" title=" style"> style</a>, <a href="https://publications.waset.org/abstracts/search?q=subject" title=" subject"> subject</a>, <a href="https://publications.waset.org/abstracts/search?q=subjectivity" title=" subjectivity"> subjectivity</a>, <a href="https://publications.waset.org/abstracts/search?q=surrealism" title=" surrealism"> surrealism</a>, <a href="https://publications.waset.org/abstracts/search?q=Tarsila%20do%20Amaral" title=" Tarsila do Amaral"> Tarsila do Amaral</a> </p> <a href="https://publications.waset.org/abstracts/79249/the-stylistic-representation-of-subjectivity-in-exemplary-written-and-audiovisual-biographical-records-about-the-brazilian-modernist-artist-tarsila-do-amaral" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/79249.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">176</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">94</span> A Critical Discourse Analysis of the Construction of Artists' Reputation by Online Art Magazines</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Thomas%20Soro">Thomas Soro</a>, <a href="https://publications.waset.org/abstracts/search?q=Tim%20Stott"> Tim Stott</a>, <a href="https://publications.waset.org/abstracts/search?q=Brendan%20O%27Rourke"> Brendan O'Rourke</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The construction of artistic reputation has been examined within sociology, philosophy, and economics but, baring a few noteworthy exceptions its discursive aspect has been largely ignored. This is particularly surprising given that contemporary artworks primarily rely on discourse to construct their ontological status. This paper contributes a discourse analytical perspective to the broad body of literature on artistic reputation by providing an understanding of how it is discursively constructed within the institutional context of online contemporary art magazines. This paper uses corpora compiled from the websites of e-flux and ARTnews, two leading online contemporary art magazines, to examine how these organisations discursively construct the reputation of artists. By constructing word-sketches of the term 'Artist', the paper identified the most significant modifiers attributed to artists and the most significant verbs which have 'artist' as an object or subject. The most significant results were analysed through concordances and demonstrated a somewhat surprising lack of evaluative representation. To examine this feature more closely, the paper then analysed three announcement texts from e-flux’s site and three review texts from ARTnews' site, comparing the use of modifiers and verbs in the representation of artists, artworks, and institutions. The results of this analysis support the corpus findings, suggesting that artists are rarely represented in evaluative terms. Based on the relatively high frequency of evaluation in the representation of artworks and institutions, these results suggest that there may be discursive norms at work in the field of online contemporary art magazines which regulate the use of verbs and modifiers in the evaluation of artists. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=contemporary%20art" title="contemporary art">contemporary art</a>, <a href="https://publications.waset.org/abstracts/search?q=corpus%20linguistics" title=" corpus linguistics"> corpus linguistics</a>, <a href="https://publications.waset.org/abstracts/search?q=critical%20discourse%20analysis" title=" critical discourse analysis"> critical discourse analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=symbolic%20capital" title=" symbolic capital"> symbolic capital</a> </p> <a href="https://publications.waset.org/abstracts/92021/a-critical-discourse-analysis-of-the-construction-of-artists-reputation-by-online-art-magazines" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/92021.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">165</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">93</span> Architecture of Contemporary Museums Located in the Historic Center of Cracow: One City, One Architect, Three Projects</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=A.%20Brach">A. Brach</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The architecture of modern museums in the historical center should refer to a place in a cultural, historical, urban and architectural sense, using adequate and contemporary forms of architecture. The research and architectural analysis of selected museums in Cracow were conducted to illustrate which elements were decisive for the choice of architectural form. The evaluation of selected objects took into the consideration the following aspects: continuation of the historical form, contemporary form referring to the place, the individual-author form omitting the cultural aspect of the place. The presented projects showed the compromise as positive solutions rejecting both the direct imitation or 'historical continuation' as well as an individual form focused on an abstract form. In order to carry out research and confirm the thesis, three designs of Assoc. Prof. Eng. Arch. Krzysztof Ingarden in the historic city of Cracow were selected. Despite being constructed in one city, the neighborhood and cultural contexts of the locations are completely different. The neighborhood of the historical Royal Road and gothic church with unique decorations from the Polish Art Nouveau, artist Stanislaw Wyspianski (Wyspianski Pavilion), the bend of the Vistula hosting the Japanese culture (Museum of Japanese Art and Technology Manggha) and finally the old area of a horse riding school from the Austrian Empire times (Malopolska Garden of Art). All three buildings are dedicated to the culture of Japan, Polish artist Stanislaw Wyspianski, contemporary achievements and the promotion of art at its widest sense. Important fact for this research is that there is one author of all presented projects. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=adaptation%20of%20existing%20buildings" title="adaptation of existing buildings">adaptation of existing buildings</a>, <a href="https://publications.waset.org/abstracts/search?q=architecture%20in%20cracow" title=" architecture in cracow"> architecture in cracow</a>, <a href="https://publications.waset.org/abstracts/search?q=modern%20architecture" title=" modern architecture"> modern architecture</a>, <a href="https://publications.waset.org/abstracts/search?q=museums%20located%20in%20historic%20center" title=" museums located in historic center"> museums located in historic center</a> </p> <a href="https://publications.waset.org/abstracts/91011/architecture-of-contemporary-museums-located-in-the-historic-center-of-cracow-one-city-one-architect-three-projects" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/91011.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">165</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">92</span> Ironic Historiography: On Art, Nationality and In-Between Identities</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sigal%20Barkai">Sigal Barkai</a> </p> <p class="card-text"><strong>Abstract:</strong></p> 'Ironic Historiography' is a hybrid notion combining criticism of historical narratives concerning the Israeli state with ironic artistic expression. The paper will deal with questions of identities of native Israeli visual artists who chose to live out of the country, or to move back and forth to and from it. It will examine the ways these wanderings are reflected in their work. The paper discusses the work of 4 contemporary artists who produce artworks in diverse techniques and media, such as video, performance and installation art. Yael Bartana, Erez Israeli and Tamir Zadok are artists who constantly deal with Israeli nationality and history in their artwork, using ironic components. In comparison, the paper will review the works of Mika Rottenberg, who is now a New York based artist. She is concerned with global social issues and neglected specific national identity altogether. All of them use visual irony as a means of reflecting and criticizing society. The analysis was done in awareness of the life stories of the artists, in an attempt to trace the ways they establish their identities through their art. It was pre-supposed that these identities will be shaped in the in-between space of being an Israeli citizen and a citizen of the world. The study asks how ironic expression appears in their work, what kind of irony do they use and in what ways does it serves them. The methodology combined visual analysis, interviews with the artists, and analyzation of secondary discourses in the media. As theoretical background various fields of knowledge were used, such as literature and language studies, Sociology, and Visual Culture studies. The findings point out that visual and artistic irony has many different goals in the use of historiographic fiction. It can bind an artist to his homeland and native society, or it can help her to detach. It helps healing breaches in the in-between space, or it can be used as a means to completely detach from any identification with a native origin. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=visual%20art" title="visual art">visual art</a>, <a href="https://publications.waset.org/abstracts/search?q=irony" title=" irony"> irony</a>, <a href="https://publications.waset.org/abstracts/search?q=identities" title=" identities"> identities</a>, <a href="https://publications.waset.org/abstracts/search?q=Israel" title=" Israel"> Israel</a> </p> <a href="https://publications.waset.org/abstracts/50093/ironic-historiography-on-art-nationality-and-in-between-identities" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/50093.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">252</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">91</span> The Transformation of Beauty and Ugliness in Art Aesthetics</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Wenjin%20Li">Wenjin Li</a>, <a href="https://publications.waset.org/abstracts/search?q=Jing%20Sun"> Jing Sun</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Since the mid-eighteenth century, when philosophers began to talk about aesthetic consciousness, beauty gradually became an independent system, and ugliness was often considered the opposite of beauty and neglected. Yet, ugliness itself has its self-regulation and aesthetic value. This paper explores the relationship between beauty and ugliness and the three forms of transformation between beauty and ugliness in artworks, looking at the history of ugliness in the East and the West, and giving an insight into the role of the artist in the transformation between beauty and ugliness. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=artistic%20aesthetics" title="artistic aesthetics">artistic aesthetics</a>, <a href="https://publications.waset.org/abstracts/search?q=arts%20theory" title=" arts theory"> arts theory</a>, <a href="https://publications.waset.org/abstracts/search?q=aesthetic%20of%20the%20ugly" title=" aesthetic of the ugly"> aesthetic of the ugly</a>, <a href="https://publications.waset.org/abstracts/search?q=beauty%20and%20ugliness" title=" beauty and ugliness"> beauty and ugliness</a>, <a href="https://publications.waset.org/abstracts/search?q=arts%20of%20east%20and%20west" title=" arts of east and west"> arts of east and west</a> </p> <a href="https://publications.waset.org/abstracts/163237/the-transformation-of-beauty-and-ugliness-in-art-aesthetics" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/163237.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">85</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">90</span> Communicating with Spirits: Bridging the Nether World of Spirits and the Real World in Healing Performances</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=S.%20Ishak">S. Ishak</a>, <a href="https://publications.waset.org/abstracts/search?q=M.%20G.%20Nasuruddin"> M. G. Nasuruddin</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Traditional Malay performances are carried out for both entertainment and curing purposes. In curing rituals, the men and women serving as shamans, communicates with the spirits and beings from the nether world to facilitate the curing process. The dependency on engaging with these other-worldly beings however, have raised religious issues of being <em>syirik</em>, namely practicing in rituals which are religiously forbidden. This study aims to observe how ritual leaders attempt to negotiate the fine balance between what has been religiously forbidden and the psychological and sociological needs of the patient. Two curing rituals, the <em>main peteri</em> and the <em>malibobou</em> were chosen to exemplify the communication between the physical and spiritual realities. In both rituals, the healers engaged in procedures of curing as they attempted to diagnose sicknesses and proffer cures with the help of the spirits. The <em>main peteri</em> was conducted by a male shaman, the <em>tuk teri</em> whereas the <em>malibobou</em> was conducted by a female ritual specialist, the <em>bobohizan</em>. <em>Main peteri</em> and the <em>malibobou</em> both ended with ritually thanking and sending off the spirits back to their nether, invisible domains. These curing rituals heal not only the sick individual, but by extension, the village community. Therefore, there is a need to reconcile these rituals with religious tenets, beliefs and sociological-political-cultural dimensions. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=traditional%20healing" title="traditional healing">traditional healing</a>, <a href="https://publications.waset.org/abstracts/search?q=trance" title=" trance"> trance</a>, <a href="https://publications.waset.org/abstracts/search?q=spirits" title=" spirits"> spirits</a>, <a href="https://publications.waset.org/abstracts/search?q=main%20peteri" title=" main peteri"> main peteri</a>, <a href="https://publications.waset.org/abstracts/search?q=bobohizan" title=" bobohizan"> bobohizan</a> </p> <a href="https://publications.waset.org/abstracts/14880/communicating-with-spirits-bridging-the-nether-world-of-spirits-and-the-real-world-in-healing-performances" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/14880.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">359</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">89</span> Translation and Transculturality in Contemporary Chinese Art: A Case Study of Gu Wenda’s 'Forest of Stone Steles' and 'United Nations: Temple of Heaven'</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rui%20Zhang">Rui Zhang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Translation has been elevated to one of the key notions in contemporary cultural discourse for a wide range of fields. It focuses not only on communication or transmission of meaning between different languages, but also on ways in which the very act of translation can be understood as a metaphor for cultural process. In recent years, the notion of translation is employed by some contemporary Chinese artists in a conceptual way, whose works contribute to constructing/deconstructing global/local cultural discourse and their own cultural identities. This study examines two artworks by contemporary Chinese artist Gu Wenda from a translational perspective, namely Forest of Stone Steles - Retranslation & Rewriting of Tang Poetry and United Nations - China Monument: Temple of Heaven, aiming to broaden the scope of Translation Studies to investigate visual culture and enrich methodological approach to contemporary Chinese art. Focusing on the relationship between translation, visuality and materiality in these two works, this study explores the nature of translation as part of the production of cultural discourse in the age of globalization as well as a way of establishing cultural identity. Gu Wenda, one of the most prestigious artists in contemporary China, is considered a pioneer in ‘85 Art Movement of China, and thereafter he went abroad for his artistic pursuits. His transnational experience enriches his cultural identity and the underlying discourse constructed/deconstructed in many of his works. In the two works already mentioned, the concept of translation is deployed by Gu Wenda on both linguistic level and metaphorical level for artistic expression. These two works produce discourses in which the artist’s perception of cultural identity in a transnational context is articulated by the tension between source text and target text. Based on the conceptual framework of cultural identity proposed by Stuart Hall, analyses of Gu Wenda’s cultural identity revealed through translation in these two works are centred on two axes, i.e., the axis of similarity and continuity with Chinese intellectual culture and the axis of difference and rupture with it, and the dialogic relationship between these two vectors. It argues that besides serving as a means of constructing visuality in the two works, translation metaphorizes Gu Wenda’s journey from overcoming his cultural identity anxiety to re-establishing a transcultural identity embedded in the underlying discourse. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=contemporary%20Chinese%20art" title="contemporary Chinese art">contemporary Chinese art</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20identity" title=" cultural identity"> cultural identity</a>, <a href="https://publications.waset.org/abstracts/search?q=transculturality" title=" transculturality"> transculturality</a>, <a href="https://publications.waset.org/abstracts/search?q=translation" title=" translation"> translation</a> </p> <a href="https://publications.waset.org/abstracts/78648/translation-and-transculturality-in-contemporary-chinese-art-a-case-study-of-gu-wendas-forest-of-stone-steles-and-united-nations-temple-of-heaven" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/78648.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">497</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">88</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">87</span> The Case for Creativity in the Metaverse</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=D.%20van%20der%20Merwe">D. van der Merwe</a> </p> <p class="card-text"><strong>Abstract:</strong></p> As the environment and associated media in which creativity is expressed transitions towards digital spaces, that same creativity undergoes a transition from individual to social forms of expression. This paper explores how the emerging social construction collectively called ‘The Metaverse’ will fundamentally alter creativity: by examining creativity as a social rather than individual process, as well as the mimetic logic underlying the platforms in which this creativity is expressed, a crisis in identity, commodification and social programming is revealed wherein the artist is more a commodity than their creations, resulting in prosthetic personalities pandering to an economic logic driven by biased algorithms. Consequently the very aura of the art and creative media produced within the digital domain must be re-assessed in terms of its cultural and exhibition value. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=aura" title="aura">aura</a>, <a href="https://publications.waset.org/abstracts/search?q=commodification" title=" commodification"> commodification</a>, <a href="https://publications.waset.org/abstracts/search?q=creativity" title=" creativity"> creativity</a>, <a href="https://publications.waset.org/abstracts/search?q=metaverse" title=" metaverse"> metaverse</a>, <a href="https://publications.waset.org/abstracts/search?q=mimesis" title=" mimesis"> mimesis</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20programming" title=" social programming"> social programming</a> </p> <a href="https://publications.waset.org/abstracts/193881/the-case-for-creativity-in-the-metaverse" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/193881.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">11</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=artist%20as%20a%20shaman&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=artist%20as%20a%20shaman&page=3">3</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=artist%20as%20a%20shaman&page=4">4</a></li> <li class="page-item"><a class="page-link" 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