Hasil untuk "Visual arts"

N. Dehouche, Kullathida Dehouche

Text-to-Image artificial intelligence (AI) recently saw a major breakthrough with the release of Dall-E and its open-source counterpart, Stable Diffusion. These programs allow anyone to create original visual art pieces by simply providing descriptions in natural language (prompts). Using a sample of 72,980 Stable Diffusion prompts, we propose a formalization of this new medium of art creation and assess its potential for teaching the history of art, aesthetics, and technique. Our findings indicate that text-to-Image AI has the potential to revolutionize the way art is taught, offering new, cost-effective possibilities for experimentation and expression. However, it also raises important questions about the ownership of artistic works. As more and more art is created using these programs, it will be crucial to establish new legal and economic models to protect the rights of artists.

Stefano Chiarenza, Marta Salvatore

The coherence of built architecture often depends on a latent structural design whose essential role can govern architectural outcomes even when not overtly visible. Structural logic is either integrated into the building as a whole or concealed behind finished surfaces. However, this concealed structure often defines space and regulates formal relationships. Instead of viewing structure and form as opposites or as directly corresponding, it is more accurate to understand them as mutually influential, their relationship shaped by specific design choices. Every construction act creates an order, and every form manifests through its underlying structure, highlighting an ongoing interplay between these elements. [read more]

Vishal Chaudhary, Lucky Lucky, Harsh Sable et al.

To effectively address crisis emergence of new virus such as monkeypox, a collective and collaborative effort between scientists, engineers, innovators, and artists from all ages, regions, and diverse fields is required. This review explores a holistic approach to addressing the monkeypox crisis by integrating nanobiosensors, artificial intelligence, visual arts, humanities, and social sciences. Traditional diagnostic methods are often limited by time, accessibility, and accuracy, but the advancement of point‐of‐care smart nanobiosensors offers a promising shift toward rapid, precise, and accessible diagnostics. They enhance the ability to screen, diagnose, and monitor monkeypox infections efficiently, contributing to better disease management. Beyond technological innovation, the essential role of arts, humanities, and social sciences in fostering public engagement, understanding, and acceptance of new diagnostic tools is emphasized. Visual arts can illustrate scientific concepts, making them more relatable, while storytelling through various media can reduce stigma and promote preventive measures. Social sciences provide insights into cultural attitudes, behaviors, and public health challenges, ensuring that technological solutions are effectively integrated into diverse communities. By combining these disciplines, this review presents a comprehensive framework for a more resilient global health system that aligns with One Health principles, emphasizing the interconnectedness of human, animal, and environmental health.

Clara Solbes-Borja

Reseña del libro

samaneh kakavand

Each King in their respective reigns attempted to shape visual culture according to their intellectual and ideological foundations. In some periods, these changes were explicit and evident, while in others, they were implicit and gradual. The Zand era also possesses distinctive artistic characteristics, including a particular type of Mihrab design. In other words, one of the identifying components of Zand-era visual culture is a type of "Mihrab" design. The Zand Mihrab design exhibits unique visual elements that serve as an iconic representation of the visual culture of that period, along with other visual components, forming the artistic characteristics of the era. The art of the Zand era is full of innovative designs, among which the repetition of a type of frame similar to the types of altars is thought-provoking. Introducing the mentioned frame as an identity identifier and searching for its frequency and how it is manifested in the Zand heritage is the concern of this article. The design of a mihrab with a corrugation, which is often seen in the art of the Zand, is a combination of two crescent and pointed arches, which has brought the upper part, especially the crown of the arch, to the fore in a new form. The mentioned design is an innovative frame in the Zend era and has a hybrid form that is inspired by two crescent and pointed arches in the crown part. The discovery of such distinctive markers necessitates research in this field, as the lack of attention to the study framework may result in misattributing artworks to the Zand era or the early years of the Qajar period without proper identification. The adoption of Mihrab designs imprinted on dateless artifacts and handicrafts of the Zand era will serve as an identity marker of that period. While motifs inspired by arches and muqarnas are prominent in Islamic art, the present study argues that the "Mihrab" design discussed here, is a distinguished visual characteristic of Zand-era art.Research Objective: The primary objective is to introduce, classify, and study the form of the "Mihrab" frame in Zand-era artworks to define one of its visual elements and cultural markers. The secondary objective is to establish the "Zand Mihrab" as an identity marker.Research Questions: How can the unique work of the "Zand Frame" be explained as an identity marker in artworks from the second half of the 12th century and the first half of the 13th century AH? How is the identity marker of the "Zand motif" interpreted in terms of innovation in the design of the Mihrab?In terms of the hypothesis it is assumed that the "Mihrab" design is an identity marker of the art in the Zand era.Research Methodology: This research is primarily theoretical, as it aims to explore the visual phenomenon known as the "Zand Mihrab" design and to elucidate its characteristics and qualities. The research employs a descriptive-analytical approach, utilizing library research, document analysis, virtual observations, and field visits to collect information and concepts. Data was gathered through written texts and images, focusing on 19 samples of visual arts from the Zand period, including tiles of Vakil mosque, the pavilion, the Haft-Tanan mansion, as well as objects and artifacts such as carpets, tombstones, a wooden door located in the Qazvin Museum, and a fabric piece containing a "Mihrab" frame.Results: The quantitative findings of this research indicate a prevalence of the "Mihrab" design in the Vakil mosque compared to other architectural structures and artistic works of the mentioned period. The study of the chronological evolution of the "Zand Mihrab" design demonstrates its invention and flourishing in the second half of the 12th century AH and persisted during the first half of the 13th century AH.Another significant finding of this research is that, although the studied design carries spiritual meanings, it has been transformed in usage during the Zand period and manifested in non-religious architectural structures and artifacts. The "Mihrab" design is found in works such as the Vakil mosque (religious), the pavilion, and the Abdul Razzaq Khan mansion (palace), as well as in Vakil School (educational) and the decoration of objects and tombstones. The Zand-era artists, through innovation in the design and modern visual composition of the Mihrab arch by iterating and harmonizing the application of the motif, and ultimately the utilization of the principle of diversity, transformed the "Mihrab" design into an identity element of the Zand period. Thus, in addition to its original invention, the repetition and diverse application of this form in various arts and architectures have turned the spiritual figure of Mihrab design into a symbol of Zand's identity and an integral part of the visual culture.

Irene Calvi

Franklin Mingzhe Li, Lotus Zhang, Maryam Bandukda et al.

Visual arts play an important role in cultural life and provide access to social heritage and self-enrichment, but most visual arts are inaccessible to blind people. Researchers have explored different ways to enhance blind people’s access to visual arts (e.g., audio descriptions, tactile graphics). However, how blind people adopt these methods remains unknown. We conducted semi-structured interviews with 15 blind visual arts patrons to understand how they engage with visual artwork and the factors that influence their adoption of visual arts access methods. We further examined interview insights in a follow-up survey (N=220). We present: 1) current practices and challenges of accessing visual artwork in-person and online (e.g., Zoom tour), 2) motivation and cognition of perceiving visual arts (e.g., imagination), and 3) implications for designing visual arts access methods. Overall, our findings provide a roadmap for technology-based support for blind people’s visual arts experiences.

Jing Chen, N. A. M. Mokmin

Sakib Shahriar

"Art is the lie that enables us to realize the truth."- Pablo Picasso. For centuries, humans have dedicated themselves to producing arts to convey their imagination. The advancement in technology and deep learning in particular, has caught the attention of many researchers trying to investigate whether art generation is possible by computers and algorithms. Using generative adversarial networks (GANs), applications such as synthesizing photorealistic human faces and creating captions automatically from images were realized. This survey takes a comprehensive look at the recent works using GANs for generating visual arts, music, and literary text. A performance comparison and description of the various GAN architecture are also presented. Finally, some of the key challenges in art generation using GANs are highlighted along with recommendations for future work.

P. Ezhilmurugan., Y. E

Human thinking first appeared through visual art. From the early cave man paintings to this modern-day AI-generated image and deep learning algorithms, the world has developed. Artificial intelligence (AI) has impacted the visual arts in various ways, and it has influenced more and more as a transformative force in many fields. Through this study, the complex link between artificial intelligence and the visual arts is explained by analyzing the effects, the outcomes, and the future paths. The study explores how artificial intelligence has transformed the production, interpretation, and consumption of art. It also shows how AI algorithms are employed by artists to generate imagery. This study, along with the analysis of surveys, experimental initiatives, and different artworks, explains the impact of artificial intelligence in the world of visual arts. It also tells how artificial intelligence has swayed historical mythology and its sociocultural ramifications. With an interdisciplinary approach, this study integrates the understanding of computer science, art history, and cultural studies and offers a subtle analysis of the profound impact of AI on the visual arts. Finally, this comprehensive study provides an insight on how artificial intelligence has influenced and impacted the visual arts and about the evolutionary technological potential of it in the future by providing a deeper and better understanding of the growing complex link between creativity and technology in modern art practices.

I. Santos, Luz Castro, Nereida Rodriguez-Fernandez et al.

Algirdas Toliatas

Įžangos žodis

C. Ishiguro, T. Ishihara, Noriteru Morita

The present longitudinal study examined whether extracurricular activities in the arts and corresponding scores in art classes have a positive association with general academic performance. Data were collected from 488 seventh-grade children (259 boys and 229 girls) for over two years. Information regarding their participation in extracurricular activities in music and visual arts, grade points in general academic performance (i.e., Japanese, Social Studies, Mathematics, Science, and English), music, and arts were obtained at the end of the seventh and ninth grades. Structural equation modeling revealed that participation in extracurricular activities in both music and visual arts was positively associated with improvements in general academic performance from the seventh and ninth grades, and these associations were related to changes in music and visual arts scores. This finding suggests that arts education can contribute to improving general academic performance; however, the current study shows correlational relationships. Future research should examine the causal relationship between art involvement and academic performance by controlling for other factors (e.g., IQ, motivation, etc.).

Zeliha Canan Ozkan

Project-based learning in visual arts lesson is an effective method to develop students' creativity, self-confidence and learning skills. The aim of this study is to examine the effect of project-based learning method applied in 7th grade visual arts lesson on lesson outcomes and attitudes compared to traditional teaching. The study was conducted with a pretest-posttest control group experimental model. The experimental process lasted 5 weeks for the experimental and control groups. At the beginning of the experimental procedures of the study, the 7th grade visual arts lesson achievement test and attitude scale towards visual arts lesson were applied to the experimental and control groups simultaneously as pre-test. In the experimental group, the visual arts lesson was taught with the project-based learning method, while in the control group it was taught with the traditional teaching method. The 7th grade visual arts lesson achievement test and attitude scale towards visual arts lesson were used to collect research data. According to the research findings, when the post-test results between the group in which the project-based learning method was applied and the group in which the traditional method was applied were examined, significant differences were found in favor of the experimental group in which the project-based learning method was applied. The project-based learning method had a positive and high level effect on the visual arts lesson achievements and attitudes of 7th grade middle school students.

El Fadel Mousa Monser

: The integration of artificial intelligence (AI) into the realm of visual arts has ushered in a transformative era, reshaping the creative process and impacting various facets of the art world. This modern vision encompasses diverse applications, such as generative art through style transfer and Generative Adversarial Networks (GANs), enabling artists to produce novel compositions collaboratively with AI. Augmented and virtual reality play a pivotal role, offering interactive and immersive experiences, while automated content creation tools assist artists in design tasks. AI's analytical capabilities extend to the art market, aiding in predictive analytics and price estimation. Authentication and conservation benefit from AI's prowess in detecting forgeries and monitoring artwork conditions. Personalized art recommendations, collaborative projects, and emotion recognition further exemplify the expansive influence of AI on visual arts, promising continued evolution and innovation in the field.

Rachel Denee, G. Lindsay, Sarah Probine

Although visual arts pedagogies are considered central within early childhood education programs, teacher self-efficacy has a direct impact on the quality and delivery of visual arts curricula. Until recently, the visual arts self-efficacy, pedagogical knowledge, and practice of in-service early childhood teachers have remained largely unexplored. The authors of this paper present a qualitative, iterative re-analysis of their three PhD studies which broadly focussed on early childhood visual arts praxis and specifically examined the visual arts beliefs and pedagogy of early childhood teachers in Australia and New Zealand. A thematic analysis of the intersecting self-efficacy findings raised in the three studies identifies the powerful influence of self-efficacy on teaching practice in the visual arts domain and offers new understandings about visual arts self-efficacy amongst early childhood teachers. The combined findings reveal several factors that restrain or enhance teachers’ visual arts self-efficacy across time, including the impact of childhood experiences, pre-service training and epistemological beliefs. The paper also identifies several enabling conditions that appear to support teachers to develop and maintain positive visual arts self-efficacy beliefs, including practical engagement with materials, sustained professional learning, relational trust and intentional leadership. These enabling conditions offer practical strategies and research recommendations in service of positive visual arts self-efficacy to enhance quality visual arts teaching in early childhood contexts.

ZOTOV VITALY V. / ЗОТОВ В.В., KONSON GRIGORY R. / КОНСОН Г.Р., VOLODENKOV SERGEY V. / ВОЛОДЕНКОВ С.В. et al.

In a turbulent society, the identification of perceptions of the future is a crucial component for decision-making. As digital transformation deepens, the image of the digital future, encompassing expectations, assumptions, and perceptions about individual, societal, and state development in the era of digitalization across various aspects of life and production, assumes a paramount role in this process. Its dissemination in media space plays a pivotal role in shaping citizens’ future outlook and can significantly influence their perception of the world and subsequent actions. This study aims to explore the relationship between the formation of the digital future image in media space and its representation within the public consciousness. The authors conducted a comparative analysis of the saturation of digital society markers in media space and the public’s level of knowledge about digital technologies. Additionally, they assessed the tone of media texts containing digital future markers and examined their reception among the population. Furthermore, the key stakeholders of digital transformation and agents of influence in the presentation of the digital future were identified, along with the primary recipients and mediators of the prosocial image of the digital future. The study also investigated the media tools employed to disseminate the digital future image. Based on their findings, the authors present an overarching conclusion emphasizing the necessity of developing a vision of the digital future as an integral part of state policy to support the digital development of Russian society. При турбулентности общества выявление представлений о будущем является важным компонентом для принятия решений. С углублением цифровой трансформации ведущую роль в этом процессе начинает играть образ цифрового будущего, который представляет собой комплекс ожиданий, предположений и представлений о развитии человека, общества и государства в условиях цифровизации различных сфер жизнедеятельности и производства. Его трансляция в медиапространстве начинает играть ключевую роль в формировании представлений граждан о будущем и может оказывать значительное влияние на их восприятие мира и их действия. Цель данной работы заключается в раскрытии взаимосвязи между формированием образа цифрового будущего в медиапространстве и его репрезентацией в общественном сознании. В рамках исследования авторы сопоставили насыщенность медиапространства маркерами цифрового общества с уровнем знания населения о цифровых технологиях; оценили тональность медиатекстов, содержащих маркеры цифрового будущего, и их восприятие населением; выявили основные заинтересованные стороны цифровой трансформации и агентов влияния на процесс презентации цифрового будущего, а также ключевых реципиентов и медиаторов репрезентации просоциального образа цифрового будущего; определили медийные инструменты трансляции образа цифрового будущего. Авторы приходят к обобщающему выводу о необходимости разработки ви́дения цифрового будущего в рамках проводимой государственной политики по поддержки цифрового развития российского общества.

Jundong Cho

Visually impaired visitors experience many limitations when visiting museum exhibits, such as a lack of cognitive and sensory access to exhibits or replicas. Contemporary art is evolving in the direction of appreciation beyond simply looking at works, and the development of various sensory technologies has had a great influence on culture and art. Thus, opportunities for people with visual impairments to appreciate visual artworks through various senses such as hearing, touch, and smell are expanding. However, it is uncommon to provide an interactive interface for color recognition, such as applying patterns, sounds, temperature, or scents. This review aims to convey the visual elements of the work to the visually impaired through various sensory elements. In addition, to open a new perspective on appreciation of the works, the technique of expressing the color coded by integrating patterns, temperature, scent, music, and vibration was explored, and future research topics were presented.

Victoria Ateca-Amestoy, Concetta Castiglione

The cluster of innovations brought about by information and communication technology (ICT) is dramatically changing the ways in which the visual arts can be produced and consumed. By using the USA 2012 Survey of Public Participation in the Arts, we explore visual arts consumption through both onsite attendance at museums and electronic and digital media. To disentangle the complexity of the relationship of different forms of museums attendance, both a multinomial logit and a recursive bivariate probit model are estimated to obtain direct and indirect effects of the alternative forms of participation. Results demonstrate that there are no age consumer differences in the form they consume visual arts. Noticeable differences concern race, gender, families with children attending arts school, and type of occupation. In addition, results show that there is a trade-off between online and onsite visits. Visiting museums and art galleries have a positive correlation with the digital access to visual arts, both through handheld and mobile devices and via the internet, whilst the same correlation is not found for internet access on museum attendance. This means that for many consumers, online attendance is the only way to overcome time constraints and other costs involved in an onsite visit.

Wahyu Widyasih

This study aims to identify the types of art archives and arrange their arrangement designs in order to support the development of the tridharma of higher education at the Indonesian Institute of the Arts (ISI) Surakarta. The archives studied are the archives of performing arts that are the result of the Tridharma organization. The research was conducted using a qualitative descriptive method. That is describing a situation based on the facts that appear. The results of field observations show that the performing arts document consists of text, audio, and video. Its creation cannot be separated from previous works of art as a reference or source of works of art. Artwork documents are archives because they are the result of the tridharma process, but have only been managed as a library. The archives are dominated by final works of art from study programs at the Faculty of Performing Arts, results of artistic research from the Research Centre, and results of community service works of art from the Centre for Community Service. ISI Surakarta Archives Retention Schedule stipulates the archive as a static archive (permanent) after the retention period expires. Its arrangement requires a design according to archival standards. The design is made by taking into account the principle of provenance and original order. The design includes archive creators, archive classification (final project reports, research, and community service), archive indexes (reports, audio visual recordings, and intellectual property certificates), archive cross-linking to link different types of archives for the same archive, information archives, access conditions and archive service procedures.   Keywords: archive, arrangement, design, performing arts, tridharma