Hasil untuk "Handicrafts. Arts and crafts"

Diaa E. Habibi, Gert Aarts, Lingxiao Wang et al.

The probability distribution effectively sampled by a complex Langevin process for theories with a sign problem is not known a priori and notoriously hard to understand. Diffusion models, a class of generative AI, can learn distributions from data. In this contribution, we explore the ability of diffusion models to learn the distributions created by a complex Langevin process.

Diederik Aerts, Roberto Leporini, Sandro Sozzo

We have proved in both human-based and computer-based tests that natural concepts generally 'entangle' when they combine to form complex sentences, violating the rules of classical compositional semantics. In this article, we present the results of an innovative video-based cognitive test on a specific conceptual combination, which significantly violates the Clauser-Horne-Shimony-Holt version of Bell's inequalities ('CHSH inequality'). We also show that collected data can be faithfully modeled within a quantum-theoretic framework elaborated by ourselves and a 'strong form of entanglement' occurs between the component concepts. While the video-based test confirms previous empirical results on entanglement in human cognition, our empirical approach surpasses language barriers and eliminates the need for prior knowledge, enabling universal accessibility. Finally, this transformative methodology allows one to unravel the underlying connections that drive our perception of reality. As a matter of fact, we provide a novel explanation for the appearance of entanglement in both physics and cognitive realms.

Kotthireddy MALLA REDDY

UNESCO 2003 Convention paved way for Safeguarding of Intangible Cultural Heritage (ICH). It defines the ICH as practices, representations, expressions as well as knowledge and skills. Oral traditions and expressions include performing arts, social practices, rituals and festive events, Knowledge and practices concerning nature, universe, and Traditional Craftsmanship. The main problem of Indian society is that the highly skilled persons are one side without Education and highly qualified academicians, technicians on the other hand have no skills. The unorganized employs acquire the skills on their own. Proper training is needed for skill enhancement and social commitment to involve them in curriculum and community development. The Telangana Region is renowned for its exceptional ICH-like weaving and dyeing techniques. The notable Telangana sarees include Pochampally Sarees and Gadwal Sarees. Festivals like Bonalu, Bathukamma, Dasara, and Peerilu are unique to Telangana Region. Telangana is famous for its bronze Castings that require exquisite skills to create incredible idols. Telangana handicrafts are Cheriyal Scroll Paintings, Batik Paintings, and Nirmal Paintings, metalware and wooden crafts. Home linen includes handlooms such as Banjara Needlecrafts and Gadwal Handloom. Hyderabad is famous for Lac bangles, jingle on pearl strings. There is a great scope for Entrepreneurship Development in Intangible Cultural Heritage and its allied sectors in Telangana State. Pottery, Silver Filigree, Basket-Mat Making, Toy Making, Saree Designs will provide very big market and solve the unemployment problems. In addition to Documentation and Safeguarding the endangered cultural expressions create opportunities for an internship with industry, business, artists, and craftsmen.

Inge Panneels

This study proposes to extend the sustainable business framework of the Quadruple Bottom Line into the Quintuple Bottom Line. The five Ps of the Quintuple Bottom Line support purpose-driven businesses to consider economic profitability alongside social responsibility and environmental sustainability, rooted in place (purpose, profit, people, planet and place), and are based on reflections from the craft industry. Case studies from material-based creative businesses as found in the traditional handicraft and design-innovation communities in Nepal, and a designer-making community in Scotland, both explored circular-economy principles. The importance of localised supply chains and regenerative design enabled the development of the five-Ps framework so as to be more reflective of circular-economy models as operated by craft businesses. This qualitative research project took a case-studies approach, supported by primary research through workshops and interviews, and using the expansion of the Craft Toolkit of Applied Arts Scotland to embed the five Ps. The craft sector, with creative practices rooted in traditional manufacturing, material knowledge and yet a contemporary approach to design, can thus provide a useful model for other creative businesses that support purposeful, holistic sustainability and that engage with financial, environmental, and social sustainability that is rooted in place.

I. Suardana, I. M. Sumantra

This study aims to discover in depth the existence of the creation of pure and sacred silver crafts today and the public's attention to these works. The results of this study will also be very useful for craftsmen, entrepreneurs, academics, and the government as information material about the growth and development of the creation of silverworks in an uncertain tourism situation. The decline in Bali tourism has impacted the decline in silver handicraft production in Gianyar, especially in products for tourism needs. Several areas that used to be centers of silver crafts, such as Celuk Village, Singapadu Village, and Taro Village, are now no longer productive because they rarely receive orders. In a quiet situation, some creative and highly skilled craftsmen began to divert their production by creating several pure art and sacred art as collectibles and Sesuhunan (sacred crafts) such as Barong, Rangda, and Masks which are purified and sacred by the Balinese people. The orientation of creating silverworks eventually leads to works of high quality and aesthetic value. A very interesting phenomenon to study holistically is the following: how is the existence of the creation of pure and sacred silverworks in Gianyar today? The method used in this study is a descriptive qualitative method with data collection techniques of observation, interviews, and documentation. This paper is also very appropriate to be carried out to examine in depth the development of silverworks of pure art and sacred art. There is a huge struggle between cultural and economic capital in the quest for power and the preservation of silverwork as noble works of art. This research is expected to contribute to science, especially related to arts and crafts in general.

S. Özmen

The Anatolian region, renowned for its abundant artistic heritage spanning diverse civilizations, boasts a history entwined with the thirteenth century Ottoman Empire. Within world history, the Ottoman Empire holds a pivotal role, particularly in the realms of art, craftsmanship, and science across its dominion. Though artistic hubs initially thrived in Bursa and Edirne, Istanbul emerged as the epicenter in the late 15th century. The intricate textiles, fabrics, and motifs originating here inspired numerous production centers. The 16th century, the Ottoman Empire’s golden age, witnessed a zenith in handicrafts and textiles, notably silk weaving, which constituted a significant portion of Ottoman exports from the 16th to 18th centuries. Bursa’s silk weaving adhered to state-enacted laws and quality standards, a pioneering instance in textile history, reflecting the Empire’s commitment to top-notch production. This article delves into the historical panorama of Ottoman-era attire, textiles, fabrics, and motifs, underscoring the Empire’s dedication to arts, sciences, and crafts a testament to its robust structural framework and forward-looking vision.

Sander Aarts, Jacob Dentes, Manxi Wu et al.

We consider the problem of fairly allocating the cost of providing a service among a set of users, where the service cost is formulated by an NP-hard {\it covering integer program (CIP)}. The central issue is to determine a cost allocation to each user that, in total, recovers as much as possible of the actual cost while satisfying a stabilizing condition known as the {\it core property}. The ratio between the total service cost and the cost recovered from users has been studied previously, with seminal papers of Deng, Ibaraki, \& Nagomochi and Goemans \& Skutella linking this {\it price-of-fair-sharing} to the integrality gap of an associated LP relaxation. Motivated by an application of cost allocation for network design for LPWANs, an emerging IoT technology, we investigate a general class of CIPs and give the first non-trivial price-of-fair-sharing bounds by using the natural LP relaxation strengthened with knapsack-cover inequalities. Furthermore, we demonstrate that these LP-based methods outperform previously known methods on an LPWAN-derived CIP data set. We also obtain analogous results for a more general setting in which the service provider also gets to select the subset of users, and the mechanism to elicit users' private utilities should be group-strategyproof. The key to obtaining this result is a simplified and improved analysis for a cross-monotone cost-allocation mechanism.

Conny Aerts, Geert Molenberghs, Joris De Ridder

Gravito-inertial asteroseismology saw its birth thanks to high-precision CoRoT and Kepler space photometric light curves. So far, it gave rise to the internal rotation frequency of a few hundred intermediate-mass stars, yet only several tens of these have been weighed, sized, and age-dated with high precision from asteroseismic modelling. We aim to increase the sample of optimal targets for future gravito-inertial asteroseismology by assessing the properties of 15062 newly found Gaia DR3 gravity-mode pulsators. We also wish to investigate if there is any connection between their fundamental parameters and dominant mode on the one hand, and their spectral line broadening measured by Gaia on the other hand. After re-classifying about 22% of the F-type gravity-mode pulsators as B-type according to their effective temperature, we construct histograms of the fundamental parameters and mode properties of the 15062 new Gaia DR3 pulsators. We compare these histograms with those of 63 Kepler bona fide class members. We fit errors-in-variables regression models to couple the effective temperature, luminosity, gravity, and oscillation properties to the two Gaia DR3 parameters capturing spectral line broadening for a fraction of the pulsators. We find that the selected 15062 gravity-mode pulsators have properties fully in line with those of their well-known Kepler analogues, revealing that Gaia has a role to play in asteroseismology. The dominant g-mode frequency is a significant predictor of the spectral line broadening for the class members having this quantity measured. We show that the Gaia vbroad parameter captures the joint effect of time-independent intrinsic and rotational line broadening and time-dependent tangential pulsational broadening. Gaia was not desiged to detect non-radial oscillations, yet its homogeneous data treatment allow us to identify many new gravity-mode pulsators.

Xinyong Yu, Yanli Dai

How to identify quickly the images of folk arts and crafts works has become a difficult problem of cultural heritage value mining. Therefore, combined with the image recognition technology can improve the accuracy of the identification of folk arts and crafts works. This paper improves the ITTI significant model based on the method of linear addition of significant maps with the same proportion. Firstly, Bayesian model and Gaussian model are used to extract the probability distribution of image feature vector; secondly, the k-means algorithm is used to identify image accuracy extraction work, and finally ALOI database is used to test judgment image recognition accuracy; experimental results found that the improved technology does help to improve the folk arts and handicraft image recognition accuracy.

Vonezyo Yupanzara Dharomesz

Donomulyo Village, which is located in Kulon Progo Regency, has the potential to be managed as a tourist village because the village still preserves several cultures and arts. The manifestation of this preservation is that there are still various art associations formed by the local community. The arts associations in Donomulyo Village include dance arts associations, theater arts associations, and music arts associations. In addition to culture and art, Donomulyo Village also produces various kinds of traditional handicrafts and culinary products. This is evidenced by the existence of a traditional craft and culinary production site in Donomulyo Village. The potentials of Donomulyo Village need to be developed in order to attract tourists. The author offers the "Donomulyo Village Tour Package Catalog" program as an effort to develop the potential of Donomulyo Village. The existence of this program is expected to help provide an overview to the villagers about compiling various village potentials into a tour package. In addition, the program can be a means to preserve and introduce culture and arts, crafts, and traditional culinary delights in Donomulyo Village. In the end, the goal of tourism development is that the people in Donomulyo Village can receive economic and welfare benefits.

María Elena Bedoya Hidalgo

ABSTRACT This article explores the relationship between art, folklore, and cultural institutions in mid-twentieth-century Ecuador. The founding of the Casa de la Cultura Ecuatoriana (CCE) in 1944 represented a milestone in the construction of the idea of ‘national culture’. It generated a cultural policy that recognized indigeneity as the foundation of Ecuadorian identity. The artists of the time took up joint actions with the CCE intended to salvage what was initially regarded as ‘manual art’ or ‘indigenous arts’, and eventually became notions of ‘handicrafts’ and/or ‘folklore’. Following the creation of the Instituto Ecuatoriano del Folklore and the Instituto Azuayo del Folklore in the 1960s, both of which were affiliated with the CCE, a series of art-related activities were organized. The artists involved regarded themselves as folklorists and took charge not only of collecting ethnographic materials throughout the country but also of motivating an aesthetic interest in, and promoting craft practices among the indigenous peoples. From this perspective, this article considers the complex interweaving between what was being configured as a field of artistic-aesthetic creation and research as conceived from the standpoint of material culture, its intersection with the anthropology of folklore at the time, and the interests of the nation-state in this kind of cultural practice.

Pastrán Calles, Félix Reinaldo, Salazar Olives et al.

The objective of this research is to establish the physical, natural, social and cultural potential of the San Salvador Center of the Chachi Nationality towards tourism as a sustainable economic alternative. Currently, the inhabitants and their leader, the governor, want to spread their natural and cultural potential to the general public, which counteracts what was observed in the past model, characterized by little contact with other communities, ethnic groups, or social groups. The methodology is located in the positivist paradigm, quantitative approach, with an exploratory scope, of a documentary type, together with the field design. The techniques used were: documentary analysis, observation, written survey and semi-structured interview, through the questionnaire. In the results, the natural attractiveness of the river, waterfall and humid forest subtype was identified, while in the cultural ones, religious festivals, traditions and popular beliefs, crafts, arts, music and dance; which merge with hunting, fishing, collecting fruits, roots and leaves. It is concluded that there is the commercialization of artisanal products and forestry, with tourist activities such as: guided / self-guided tours, live presentations, experiential and / or recreational activities, participation in artistic workshops, tasting of traditional dishes, purchase of handicrafts, ancestral medicine, which corresponds to attractiveness to generate products.

Vinyuhu Lhoungu

Handloom and handicraft products have been the major part of the trade items for the tribal society. Of late, the government as well as some private organisations have taken up initiatives to promote the scale of handloom and handicraft production. The study has attempted to examine the economic perspective of traditional handloom and handicraft products taking the case of NHHDC Ltd. The study also attempted to highlight the problems and challenges faced by artisans and the corporation and evaluate the kind of platform the corporation provides to economically sustain the promotion of traditional skills and crafts. Both primary and secondary data were used and statistical charts, a 3-point likert scale, averages and percentages are the tools and techniques used for this present study. Finance and negligence by the state government were the major problems while up skilling and marketing were the major challenges faced by the corporation. Unless people take pride and value own indigenous products which are part of one’s identity and culture, handloom and handicraft production is bound to face difficulty to sustain in the fast changing modern society.

Wahyu Febrianto, Pitri Ermawati, Surisman Marah

Tenun Ikat Kediri in Documentary Photography. Kediri has one of the handicrafts, namely tenun ikat Kediri. Tenun ikat Kediri has been around since the 1900’s. The presence of tenun ikat Kediri is not widely known and is not yet popular by some of the general public. The craft center of tenun ikat Kediri is located in an area called Kampung Industri Tenun Ikat Bandar Kidul Kediri. At the beginning of its presence, there were approximately 20 tenun ikat craftsmen, but currently there are only eight active craftsmen. Craftsmen in Bandar Kidul Kediri Weaving Industry Village in the form of home industry. The creation of documentary photography is one of the efforts to popu- larize and preserve Kediri ikat. Tenun ikat Kediri visualized into documentary photographic works using story formula photo technique that was conceived by Eugene William Smith. The result of the photographic creation depicts the representation of the production process along with the workers.ABSTRAKKediri memiliki salah satu kerajinan yang sudah lama ada, yaitu tenun ikat Kediri yang sudah ada sejak tahun 1900-an. Kehadiran tenun ikat Kediri belum banyak dikenal dan belum populer oleh sebagian masyarakat umum. Pusat kerajinan tenun ikat Kediri terletak di kawasan yang dinamakan Kampung Industri Tenun Ikat Bandar Kidul Kediri. Pada awal kehadirannya, terdapat kurang lebih 20 pengrajin tenun ikat Kediri, namun saat ini hanya tersisa delapan pengrajin yang masih aktif. Pengrajin yang ada di Kampung Industri Tenun Ikat Bandar Kidul Kediri berbentuk home industry. Artikel ini bertujuan untuk mewujudkan ide imaji visual foto dengan objek tenun ikat Kediri melalui media fotografi dokumenter. Metode yang digunakan yaitu observasi, eksplorasi, dan eksperimentasi. Karya foto yang dihasilkan disusun dan disajikan menggunakan metode foto cerita dari Eugene William Smith yang memungkinkan adanya pilihan variasi foto sebagai elemen dari cerita visual foto. Hasil penciptaan adalah karya fotografi yang menceritakan representasi dari proses produksi serta para pekerja.

Radhana Raheja, S. Bhagat

Precious metals have held a status of their own ever since their discovery. Their use has not only been an indication of power, status, and luxury, but also an example of intricate craft skills exhibited by artisans worldwide. Gold and silver, perhaps the oldest precious metals and also the most popular have had a diverse use in various fields, including textiles. The incorporation of these metals in textiles led to the production of a plethora of textile crafts, each demonstrating a unique feature, skill, and technique. Due to the unique qualities exhibited by the crafts; each textile holds an importance of their own. The terms of many of these textiles are often used interchangeably, however, important minute differences distinguish these textiles from one another, which is often times overlooked. Over the years, these various forms of crafts gained popularity, flourished and were even favourites among the Indian rulers and royalties of the yesteryears. However, with the loss of royal patronage and the decline in investment in the handicraft sector, most of these art forms are either languishing or are not produced anymore. To retain the culturally rich arts of India, the significance associated with them, and most importantly the techniques employed to create such masterpieces, it thus becomes important to document these artforms. This article explores the various textiles that incorporate gold and silver with respect to the technique used to produce exquisite fabrics which depict the dexterity of Indian craftsmanship

Hoa Vu Dinh

This study is conducted to find solutions to support communities in coastal craft villages to transform and expand sustainable livelihoods associated with tourism development towards a blue economy. Research results show that coastal areas associated with craft villages have rich tourism resources. However, the current status of tourism exploitation here is not commensurate with the potential. In addition, the coastal communities' primary livelihood sources are mainly related to fisheries production, sedge weaving, embroidery, handicrafts, and fine arts, with economic efficiency yet to be determined. At the same time, they are facing many unsustainable challenges due to the impacts of climate change, population growth, environmental pollution, and resource depletion. Therefore, the problem for communities in coastal craft villages today is to transform their livelihoods to develop tourism to take full advantage of their advantages and bring about high and sustainable economic efficiency. The research results can be considered a valuable reference for state management agencies in proposing mechanisms and policies for sustainable socio-economic development in the current context.

O. Shulgina

This article traces the history of the establishment and development of the walrus ivory carving art of the Chukchi and Asian Eskimos through the lens of the question of “the far” and “the near”. This question is examined based on a range of sources used by A.L. Gorbunkov, the first art director of ivory carving workshops in Chukotka, during his interaction with local artists. The novelty of the research topic and the introduction of Gorbunkov’s diary entries into scientific circulation prove the relevance of the selected problem, which has not been sufficiently covered in the research literature before. Revealing the materials of the former Scientific Research Institute of Art Industry (NIIKhP), the author attempts to consider the process of the establishment and development of the walrus ivory carving arts and crafts of Chukotka in the first third of the 20th century not in isolation but holistically, taking into account the cultural and historical context and the experience gained by the experts of NIIKhP by the 1930s. The analysis of “the far” (pictures and ornaments on various ritual objects or household items, ancient petroglyphs on a site close to Pegtymel, drawings on walrus skins, materials of ethnographic expeditions, folklore of the peoples of the Far North) and “the near” (among which is the sculpture of American Eskimos and works by a number of American and European artists) origins of the walrus ivory carving art of Chukotka in the 1930s allows representing the genesis of the Chukchi and Asian Eskimo handicraft in the first third of the 20th century and demonstrating the correlation of traditions and innovations in the new phase of this craft. The complex tasks of the research condition the use of the historical, cultural, and chronological approach, the comparative method and formal stylistic analysis. The author comes to the conclusion about the important role of Gorbunkov in the successful combination of traditional and modern trends in the art form under research: based on national artistic practices, Gorbunkov updated the assortment and themes of ivory carving products in accordance with the new demands of the epoch.

Zlatina Bogdanova

Plovdiv was the first Bulgarian city to become the European Capital of Culture for 2019. One of the leading projects in this campaign was focused on the renovation of Kapana (“The Trap”) – a historical district in the urban center. The project for upgrading Kapana was one of the first activities in the implementation of Plovdiv's candidacy: Kapana - a creative industries district was a long-term public policy initiative that attracted audiences and representatives of creative industries from Plovdiv, the country and abroad, providing a favorable and stimulating environment. The main focus of research is on the concept of “creative industries,” which has been instrumental in developing the field of arts and crafts in the district, contributing to the festivalization of culture. Based on a material gleened from long-term fieldwork, the paper presents contemporary case studies of folk arts and craft designs recently found in the territory of Kapana (2018–2019). Two examples of handicraft heritage are presented in greater detail: Adriana & Robert Atelier founded in 1995 as a family business, producing 100% leather hand-embroidered women's belts with metal buckles [chaprazi/pafti], men's belts, leather bags and other accessories with traditional folk ornaments. The second case explores the modern application of carpentry in the context of antique furniture restoration and the reproduction of antiques.

Ahmad Bahrudin, Anindita Galuh Amartya, A. F. Al-Amien

AbstrakDikotomi Kriya terdiri dari atas seni kriya dan kriya seni, seni kriya penekanan karya nya mengutamakan fungsi atau afflied art sedangkan kriya seni lebih kepada karya-karya non fungdional atau fine art,  behgitupun dalam proses penciptaannya, seni kriya lebih mengkedepankan form follow function,  dimana kaidah ini lebih menekankan pada penciptaan karya seni kriya, dimana dalam penciptaannya mendahulukan fungsi di susul dengan bentuk, supaya karya yang dihasilkan memiliki fungsi sesuai dengan yang telah direncanakan. Dengan munculnya dogma tentang Form Follows Function yang mengatakan bahwa karya fungsional harus menghilangkan hal-hal yang mengandung ornamenasi dan mengatakan bahwa ornamen adalah dosa, tetapi tidak demikian dalam karya seni kriya di Indonesia peranan ornamen memang menjadi sangat dominan fungsi ornamen bukan sekedar sebagai hiasan tetapi lebih sebagai ekspresi kriyawan.AbstractThe craft dichotomy consists of crafts and arts, the emphasis of the work emphasizes function or afflied art, while art is more towards non-functional or fine art works, as well as in the process of creation, the craft art prioritizes form follow function, where the rules This emphasizes more on the creation of handicraft works of art, where in its creation the function is followed by form, so that the resulting work has a function as planned.With the emergence of a dogma about the Form Follows Function which says that functional works must eliminate things that contain ornamentation and says that ornament is a sin, but this is not the case in Indonesian craftsmanship, the role of ornament has become very dominant. The function of ornament is not just decoration but more. as an expression of a craftsman.

Diederik Aerts, Lester Beltran

In previous research, we showed that 'texts that tell a story' exhibit a statistical structure that is not Maxwell-Boltzmann but Bose-Einstein. Our explanation is that this is due to the presence of 'indistinguishability' in human language as a result of the same words in different parts of the story being indistinguishable from one another. In the current article, we set out to provide an explanation for this Bose-Einstein statistics. We show that it is the presence of 'meaning' in 'stories' that gives rise to the lack of independence characteristic of Bose-Einstein, and provides conclusive evidence that 'words can be considered the quanta of human language', structurally similar to how 'photons are the quanta of light'. Using several studies on entanglement from our Brussels research group, we also show that it is also the presence of 'meaning' in texts that makes the von Neumann entropy of a total text smaller relative to the entropy of the words composing it. We explain how the new insights in this article fit in with the research domain called 'quantum cognition', where quantum probability models and quantum vector spaces are used in human cognition, and are also relevant to the use of quantum structures in information retrieval and natural language processing, and how they introduce 'quantization' and 'Bose-Einstein statistics' as relevant quantum effects there. Inspired by the conceptuality interpretation of quantum mechanics, and relying on the new insights, we put forward hypotheses about the nature of physical reality. In doing so, we note how this new type of decrease in entropy, and its explanation, may be important for the development of quantum thermodynamics. We likewise note how it can also give rise to an original explanatory picture of the nature of physical reality on the surface of planet Earth, in which human culture emerges as a reinforcing continuation of life.