The aim of this study is to examine the relationship between high school students' attitudes towards contemporary and digital art, and virtual exhibitions in terms of several variables. The research employed the "Survey Model," one of the quantitative research methods, and the "Comparative Correlational Survey Model" as its basis. The research sample consisted of 350 high school students enrolled in private and public high schools in a provincial center, selected through simple random sampling. Research data were collected online using the Attitude Scale Towards Virtual Exhibitions, the Attitude Scale Towards Contemporary Arts, and the Attitude Scale Towards Digital Art. Independent Samples t-Test, One-Way ANOVA, and Scheffe Tests were used in data analysis. The research results revealed that the students' general attitudes towards these areas were positive and high-level. While positive perceptions towards digital arts and the educational role of virtual exhibitions were particularly prominent, attitudes towards the virtual exhibition experience dimension were found to be relatively lower compared to other dimensions. Female students' attitudes toward various aspects of contemporary art, digital art, and virtual exhibitions are significantly more positive than male students. Regarding grade level, upper-grade students have higher attitude scores on the variables "contemporary art attitudes," "the educational role of virtual exhibitions," and "virtual exhibition experience." Students' attitudes toward contemporary and digital arts significantly and positively predict their attitudes toward virtual exhibitions; these variables explain approximately 20% of attitudes toward virtual exhibitions. Therefore, art educators are encouraged to focus on content that enhances students' experiences with digital art and virtual exhibitions. Education policymakers are advised to develop contemporary curricula that include digital art tools and to adopt inclusive arts education policies. Researchers are encouraged to conduct studies that further examine the effects of virtual exhibition experiences on student achievement, motivation, and creativity.
Artificial intelligence (AI) technologies have developed rapidly, and generative AI in particular challenges human creativity. Therefore, people ’ s perspectives about this transformative change involving creativity and art must be examined. We investigated attitudes toward using AI in art from the perspective of self-determination theory. We used data from a two-wave survey of Finnish respondents aged 18 – 80 years ( n = 828) to analyze within-and between-person effects using hybrid multilevel regression modelling. We measured positive attitudes toward using AI in (a) the art and culture field in general, (b) music, (c) visual arts, (d) detecting forged art, and (e) creating art. The main independent variables were the basic psychological needs (perceived relatedness, autonomy, and competence) in using new technologies. The results showed that participants were less positive toward using AI in the art and culture field in general compared to many other fields, such as medicine and building and real estate technology. Stronger relatedness had within-and between-person effects on positive attitudes on using AI in the art and culture field in general, as well as in music, visual arts, and creating art. Stronger autonomy had within-and between-person effects on positive attitudes on using AI in detecting forged art and creating art. The results indicate that human needs for relatedness and autonomy are important in attitudes toward using AI in art. Hence, positive personal experiences with the use of new technology are likely to affect how people perceive the introduction
Erni Yulianti, Nor Farahwahidah Abdul Rahman, Amalia Rahmadani
et al.
Creative thinking is one of the important skills required to face the 21st century challenges. However, students’ creativity assessment is challenging. Grounded on the paradigm that creativity is a tangible parameter, this study aims to explore students’ creative thinking skill via a reading-based creativity test. The test was developed by considering the creativity indicators defined by Paul Torrance, i.e., fluency, flexibility, originality, and elaboration. In this creativity test, the reading and the questions were designed to make students integrate their science, technology, engineering, arts, and mathematics (STEAM) knowledge. Based on the empirical validation, the creativity test had a reliability of 0.897, indicating that the test was reliable to measure students’ creativity. Due to the Covid-19 pandemic, the test was conducted online to 108 junior high school students in East Java, Indonesia. In general, the students achieved the highest level of creativity in terms of originality that gained average score of 3.63 (with scale 4.00). Meanwhile, they underperformed on the aspects of elaboration having average score of 2.40. There were 93 and 79 students who responded very well on the originality and fluency aspects, respectively. In contrast, respectively over 30% and 50% of students showed a lack of creativity on the aspect of flexibility and elaboration. These creativity assessment data are beneficial for educational stakeholders especially to increase the quality of teaching and learning related to STEAM education.
This work is the manifestation of the transformation of Zaimie bin Sahibil’s painting, Barracuda Series, into musical form. The Barracuda Series painting presents the beauty and richness of the ocean bed as a utopian paradigm of the maritime ecology of the coastal community of Sabah, Malaysia. The composer was inspired by his own aesthetic experience when appreciating the painting. This aesthetic experience became the material object that was treated with the concept of media transposition and turned into a musical composition. The media transposition was implemented through the interpretation and transformation of the external and internal structural levels of the Barracuda Series painting. These elements were adapted to create musical elements as a form of innovation in the way the composition was created. the creation of this work involved a number of work stages that were implemented constructively through a method of creation. These stages included: an analysis of data sources, experimentation, contemplation, composition, and formation. The work process utilized the results of extra-aesthetic interpretation and intra-aesthetic transformation to create an innovative musical text. The musical composition Tornado in the Sea uses the instrumentation of piano, violin, and kalimba. The stages of creation included an analysis of data sources, experimentation, contemplation, arrangement, formation, and execution.
This paper, written for the Summer School at L’Aquila, gives a brief overview of the current status of the ongoing research project for the digital edition of the Monumenti storici artistici della città di Aquila e suoi contornicolle notizie de’ pittori scultori architetti ed altri artefici che vi fiorirono (L’Aquila, 1848) by Angelo Leosini (L’Aquila, 1818–1881), with particular attention to the task of text transcription and markup.
Nima Sayad, Hossein Zabihi, Zahra Sadat Saeideh Zarabadi
In recent decades, due to the deterioration of environmental conditions worldwide, attention has been given to environmental and ecological issues by theorists, planners and urban designers. Urban Place experts are no exception. The aim of this study was to provide a conceptual model to explain the relationship between urban place theory and landscape ecology and then turn this model into a pattern. In the pattern presented in this research, using the landscape ecology approaches, the creation of an urban place has been done by determining the position of the components involved in it. The model presented in this study as Eco Place Pattern has four Physical, Activity, Meaning and Ecological components. There are a number of criteria for each component, which include twelve criteria. These criteria include: Landscape Ecology, Accessibility, Human Scale, Readability, Flexibility, Visual Beauty, Environmental Comfort, Security and Safety, Activity, Attention to Economics, Sensational Richness and Identity. The Shohada-ye Khalij-e Fars Lake was selected as case study and it compliance with the Eco Place pattern was investigated by ANP method. The results of the studies show the extent of it high compliance with the proposed model, but due to the importance of changes in the landscape ecology principles, modification of ecological trends in order not to reduce the quality of these urban places is recommended.
The Harrison Horblit Collection at the Harvard University’s Houghton Library contains a remarkable daguerreotype plate by the Boston firm Southworth & Hawes. It reproduces an engraving after Raphael’s Transfiguration. Whereas reproductive printmaking normally seeks to produce multiples of a unique original, daguerreotype reproductions open a space of ambiguity between the categories of original and reproduction since daguerreotypes are unique objects. Much is lost in this translation, but what is gained? If reproduction of paintings normally renders the singular multiple, what happens when a painting is reproduced as a unique image? Why was this daguerreotype created? Southworth & Hawes specialized in portraits of celebrities and considered themselves artists. Why then did they make a daguerreotype of an engraving of a painting? And why this painting?Their image of an image of an image is at once simply duplicative and a meditation on photography itself – an expanded conception of photography that figures it as spiritual and conceptual practice, as is suggested in other conflations of image reproduction and transfiguration within Southworth & Hawes’ oeuvre as well. The logic of the Southworth & Hawes’ Transfiguration becomes less a conundrum when considered in relation to two of their other images, one of the branded hand of abolitionist Jonathan Walker, the other a self-portrait representing Southworth’s torso as a classical sculpture. Translation, transfiguration, body, soul and image are closely imbricated in all three of these daguerreotypes, each produced during the height of New England Transcendentalism. While Raphael’s Transfiguration epitomizes the intersection of the human and a divine being as Scriptural drama, The Branded Hand and Southworth as a Classical Bust allude to the spiritual realm through representation of the soul’s transcendence of the suffering body rather than direct reference to scripture. The Branded Hand detaches subject from the context of the body as a whole; Walker’s wound appears in the image as the silvery trace of the price paid for his abolitionist conviction. The portrait of Southworth separates an individual man’s identity from the more allegorical presence, while presenting suggestions of sorrow as emblems of spiritual elevation. But beyond this, the transmedial daguerreotype of the print of the Raphael announces itself as visual metonymy; the transfiguration of Christ in the painting also conveys the transfigurative power of the photographic medium itself.
صحيحٌ أنّ الحياة تجدد، والتّجدد سرّ الوجود، وصحيحٌ أنّ الوجود لو غاسسحب عنه التّجدد فارق الحياة، لكنّ الماضي أيضا له عبقه وحيويته ووجوده الكائن فيه، وما يحتاجه تجدد فقط ليحيا حياة ثانية، ولكيلا يَهمد ويندثر، تهدف هذه الدّراسة إلى تجدد التّراث، والتّعرف على علم الاكتناه وببلوغرافية المخطوط وأثرهما في إثراء السّاحة العلميّة والثّقافيّة، يتيح هذا المفهوم بما هو علم وفنّ فرصة الكشف عن تماثل إبداعيّ في شتّى العلوم والفنونّ، بين سالف العصور وبين الواقع الحاليّ، وأثبتت الدّراسة أنّ التّراث العربيّ الإسلاميّ عبارة عن بِساطٍ زاهٍ ثريّ، نسجته أيد وأفكار مبدعة معطاء، أفرغت طاقتها وثقافتها وأدبها فيه، وكلّ تلك القرائح المُبدعة تستحق منّا الإعزاز والإكرام، فكأين من تجربة وعلم وإبداع هما طيّ للنّسيان لولا المعول على تراث الأجداد، إذ من خلاله يمكن فهم العلائق بين ما كان وما يكون، وللعرب المشرقيين يُعزى فضل إنجاب المبدعين في شتّى المجالات، ولهم قصب السّبق للإنتاج الإبداعيّ، فهمّ أمّة ولود متنوّرة خلّفت أعظم الهامات، وأسست أهمّ العلوم كذلك الفنون، وهذا ما يُثير فينا الإعجاب والتّقصي لدراسته، والنّاظر لمسار اللّغة العربيّة وأثَر مواقع وقنوات التّواصل الثّقافيّ و(التكنلوجيا) الحديثة يرى بجلاء الخطر الماحق، والمصير المُرعب الّذي قد تنحدر إليه ثقافتنا، الّذي يجعل مصيبتنا في تراثنا ولغتنا تتصاغر دونها كلّ مصيبة، ولابدّ إذا من تضافر جهود الغيارى على التّراث الثّقافيّ والدّينيّ واللّغويّ، فيعمدون لإحياء الكتب الصّفراء الغنيّة المغمورة، والاهتمام بها، ففيها علم وفنّ زاخران، هذا وقد اعتمدنا المنهج الوصفيّ وهو ما يناسبنا في بيان أهميّة التّحقيق في رفد الثّقافة، وأبنّا مدى تأثير عمل المحقِّق سِلبا وإيجابا في إثراء التّراث.
History of scholarship and learning. The humanities, Arts in general
Derek Walcott’s epic Omeros focuses on its representation of myth and history; narrates the story of St. Lucia with reference to the history of wars and slavery and relates mythical references with common people of St. Lucia. This article analyzes the politics behind the use of myth and history of Caribbean by using alternative modernity vis-a-vis Caribbean discourse. Through mythical references, Walcott revives the native history of St. Lucia as an alternative to Western modernity resulted by the history of imperialism. This research concludes that Walcott, in this epic, valorizes the rich cultural heritage of St. Lucia and highlights the significance of ancestral legacy and the need of cultural revival against the domination of Western culture.
Felisberto Sabino da Costa, Cintia Regina de Abreu
Este artigo tem como objetivo a investigação sobre os procedimentos pedagógicos e os conteúdos ministrados nas disciplinas que abordam o teatro de animação em escolas de ensino superior do Brasil. Para tanto, realizamos uma análise dos programas recentes de oito instituições, localizadas nos estados do Maranhão, Rio de Janeiro, São Paulo, Santa Catarina e do Distrito Federal, que contemplam a disciplina em suas grades curriculares, verifi cando suas similitudes e especifiidades.
Palavras-chave: Animação; pedagogia; artes cênicas; universidade.
This paper examines the idea that digital societies lack an ethical framework for understanding and mitigating the impact of digital technologies on human flourishing and the consequent diminishing of human agency. The authors examine how selected works of C.S. Lewis address man's moral responsibility while living in a developing society and call for a grounding in metaethical frameworks prior to any outcomes of applied ethics. Each of the authors contributes from his own field of expertise - Mahrik on nanoethics and Neal on digital media - while Lewis' writing corpus is the shared interest as well as the basis for their research. Writing and thinking from within a metaethical framework he terms the Tao, or natural law, Lewis offers an approach to the dehumanization of digital culture through his own approach to one of the oldest technologies: that of language. This offers the beginning of an infrastructure for thinking about and reacting to digital society in an ethical manner.