Hasil untuk "Decorative arts"

László Zala

This study examines the aesthetic terminology used in placing judgment in Chinese connoisseurship literature from the late Ming dynasty (1368–1644). This literary genre constitutes a collection of texts that served as guides for literati antiquarians, instructing them on how to consume material culture in a way fit for a true connoisseur. In providing instruction, the texts place judgment, both positive and negative, on certain objects and behaviours. While most of the judgment terms employed in the texts have clear, explicit meanings, other terms require further analysis to determine their implicit semantic values. In particular, this study focuses on the use of the erudite term guya 古雅 ([exhibiting] ancient elegance), which occurs 16 times across two late Ming texts: the Qing mi cang 清秘藏 (QMC; The Pure and Secret Collection) and the Zhangwu zhi 長物志 (ZWZ: Treatise on Superfluous Things). In introducing the Chinese connoisseurship genre and one of its predecessors from the Northern Song dynasty (960–1127), the article explores the changing socioeconomic backdrop of the Ming dynasty onto which the texts were created. With dissolving societal boundaries between the roles of the literati and merchant classes, the texts served an order-making role, in terms of restoring both a schematic of aesthetic preference and the traditional social hierarchy. Subsequently, the article examines the ways in which judgment is passed onto objects and behaviours in the genre’s texts. Particular attention is paid to how approaches to judgment placing changed over time, echoing the growing need for distinction in the late Ming period. The study then examines the aesthetic term guya, considering historical contexts and implicit meanings that it accrued over time. To elucidate the implicit meaning of the term in the QMC and ZWZ, a thematic analysis is conducted. In the analysis, a reading of the passages results in a first phase of coding, whereby semantic associations are tabulated based upon the surrounding context of each of the term’s instances. The codes are then refined into essence-encompassing themes. Overall, the analysis yields four themes: restraint, craftsmanship, usefulness, and value. Further analysis is then provided of the two most prevalent themes (i.e., restraint and craftsmanship), considering both the socioeconomic context of the late Ming era and the guya aesthetic theory of the well-known scholar and poet Wang Guowei 王国维 (1877–1927).

Злизин, И.Ю.

Статья посвящена вопросу атрибуции — установления авторства и начального периода производства — предметов декоративно-прикладного искусства, выполненных на Кусинском и Каслинском заводах на Урале по моделям забытого русского скульптора и общественного деятеля в сфере художественно-промышленного образования В.М. Пащенко (1854–1908). В материал исследования вошли изображения и данные о предметах чугунного литья в фондах ряда российских музеев и частных коллекций, Каслинского завода архитектурно-художественного литья, прейскуранты и заводские альбомы Каслинского и Кусинского заводов, выставочные каталоги всероссийских и международных выставок конца XIX – начала XX века, собственно предметы чугунного литья из частных коллекций, опубликованные историко-архивные и библиографические изыскания, в том числе архивной дореволюционной периодики. С помощью биографического, формально-стилистического и сравнительного методов, а также знаточеской экспертизы получены следующие результаты. Автором осуществлена реконструкция творческой биографии Владимира Михайловича Пащенко. Установлено и подтверждено авторство модельных прототипов и год начала производства четырех декоративно-прикладных предметов уральского «чугунного искусства», выполненных в стиле «декадент» и отливаемых в конце XIX – начале XX века на Кусинском и Каслинском заводах. Кроме того, в научный оборот введено и впервые атрибутировано еще одно произведение скульптора в технике художественного литья — чугунная ваза «В виде урны, с фигурой плачущей женщины» отливки Кусинского казенного завода.

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.

Benedetta Giovanola, Simona Tiribelli, Emanuele Frontoni et al.

In fashion domain, companies increasingly navigate a complex web of data involving intricate correlations, dependencies, and the unpredictability of human behavior. Managing these diverse data flows is critical to improving decision-making in an industry that depends on both creativity and precision. In this context, artificial intelligence (AI) techniques have emerged as powerful tools that offer unparalleled efficiency in interpreting and using these huge datasets. However, as the industry moves deeper and deeper into this digital frontier, it is encountering a wide range of ethical concerns. This paper examines this intersection, exploring both the technological breakthroughs that AI is bringing to fashion and the ethical implications that accompany this digital evolution. We discuss the need for robust frameworks and guidelines to ensure the responsible use of AI, noting its potential to both increase and mitigate the fashion industry’s environmental impact.

SAZIKOV ALEXEY V. / САЗИКОВ А.В., EVALLYO VIOLETTA D. / ЭВАЛЛЬЁ В.Д.

The article reviews the reports delivered on November 1–3, 2022, at the International Research-to-Practice Conference Media Art—XXI Century: Genesis, Art Programs, Education Problems. It was organized by the Russian Academy of Arts, the Research Institute of Theory and History of Fine Arts, the State Institute for Art Studies, Stroganov Moscow State Academy of Design and Applied Arts, the Moscow Architectural Institute (State Academy), and the National Academy of Design. The conference aimed at comprehending the current state of media art in the context of digitalization of classical works and methods of their exposure; at identifying key program and aesthetic dominants in media art; and at systematizing the most relevant educational projects. The organizers suggested the following aspects as the major research focuses: classical arts and media in digital discourse; new media in the socio-cultural environment; current media forms and their genesis; new media in the urban environment; interdisciplinary and authorial projects; educational processes and new competencies. Cultural institutions today are faced with the search for a definition of materiality, with fixation of transitory art; and in response, contemporary art studies are forced to develop new theoretical concepts to be used in scholarly discourse. It is how contemporary media, digital and post-digital technologies influence the state and development of contemporary art and art history practice, architecture, design, and decorative arts, that became the key research task of Media Art—XXI Century Conference. The conference demonstrated the wide range of aesthetic, art history, culturological and pedagogical aspects, which are incorporated in the creation, exposure, and further circulation of media art in the socio-cultural space. В статье представлен обзор докладов, озвученных в рамках Международной научно-практической конференции «Медиаискусство — XXI век. Генезис, художественные программы, вопросы образования» 1–3 ноября 2022, совместно организованной Российской академией художеств, НИИ теории и истории изобразительных искусств РАХ, Государственным институтом искусствознания, РГХПУ им. С.Г. Строганова, МАРХИ (Государственной академией) и Национальной академией дизайна. Целью конференции стало осмысление современного состояния медиаискусства в контексте цифровизации классических произведений и методов их экспонирования; выявление ключевых программных и эстетических доминант в сфере медиаискусства; систематизация наиболее релевантных образовательных проектов. В качестве ключевых исследовательских фокусов организаторами были предложены следующие ракурсы: классические искусства и медиа в цифровом дискурсе; новые медиа в социокультурной среде; актуальные формы медиа и их генезис; новые медиа в городской среде; междисциплинарные и авторские проекты; образовательные процессы и новые компетенции. Культурные институции сталкиваются сегодня с поиском определения материальности, с фиксацией искусства преходящего момента, в ответ современное знание вынуждено разрабатывать новые теоретические понятия для употребления в научном обиходе. То, как современные медиа, цифровые и постцифровые технологии влияют на состояние и развитие современного искусства и на искусствоведческую практику, на архитектуру, дизайн и декоративное искусство, стало ключевой исследовательской задачей настоящей конференции «Медиаискусство — XXI век. Генезис, художественные программы, вопросы образования». Результаты проведенного научного мероприятия продемонстрировали широту диапазона эстетических, искусствоведческих, культурологических, педагогических аспектов, заключенных в процессе создания, экспонирования и последующей циркуляции медиаискусства в социокультурном пространстве.

Chiara Scarpitti, Annarita Bianco, Raffaele La Marca

Over the past decade, the proliferation of electronic devices, wearables, and information tech-nology has enabled the collection and extraction of vast amounts of personal and behavioural data, penetrating our physical nature until biological. We are witnessing the gradual transfor-mation of data mining into life mining. The big data collected feeds machine learning algorithms and artificial intelligence systems, which effectively implement real-time surveillance of our lives, mainly for commercial purposes. Starting from theoretical reflections on the human and non-hu-man component inside AI, the essay identifies some projects by fashion and jewellery designers that subvert the ubiquitous surveillance system, acting concretely in specific processual and technological dynamics. By supporting a disruptive approach, the essay seeks to chart new spa-ces of design thinking that disobey or begin to question the prevailing logic involved in AI on our bodies.

GRETA RIZZI, DARIA CASCIANI

The article aims to provide a comprehensive understanding of Artificial Intelligence (AI) and its integration into fashion processes, focusing on the research, design, development, and manufacturing stages. First, it offers an overview of AI evolution, from its early developments to the contemporary advanced Machine and Deep learning models, attempting to tackle the challenge of ambiguous terminology and aiming to deal with the different interpretations of AI capabilities. Subsequently, a review of the perspectives on the integration of AI tools within fashion processes will be presented. This overview will underscore the growing need for industries to undergo a conscious technological transformation, adopting AI toward a more sustainable and responsible fashion evolution.

Nataliia L. Bilyk.

In the retrospective panorama of comparative studies experience, attention to ekphrasis seems to be more and more intense. The multifaceted phenomenon of ekphrasis does not lose its relevance over time. Vivid ekphrastic features are observed, in particular, in the epic novel “Wonder” written by Pavlo Zahrebelnyi, a prominent figure of Ukrainian literature. The purpose of the investigation is to select the fine arts ekphrasis features in the novel by Pavlo Zahrebelnyi, as well as to highlight the formal and semantic dimensions and the overall semantic configuration of the expressed poetics. The study is based on the methods of cultural-semiotic and structural-semantic analysis in combination with descriptive and comparative-typological approaches. In the visual material of Zahrebelnyi`s novel “Wonder”, the poetics of multidirectional multidimensional ekphrasis is observed, in which, according to the criterion of the image carrier, the actualization of several types of visual art is distinguished, in particular decorative and (related to it) monumental one, and their types: artistic carving, fresco painting and mosaic. In the descriptions there is a gradual development with a noticeable transgression of the content of the represented works and, therefore, the content of the ekphrasis itself. In the structure of the work their selected defining features are obviously related to one of the key organizational phenomena, one of the central symbols inherent in the “Wonder”: ekphrases in its general architecture are connected by integral elements belonging to the sphere of the internal form. Such connecting elements are cross-cutting for ekphrasis, key for the novel, tangential images-symbols of the creator, his skill and art in general, which causes the integration of expressed ekphrases into a single composite complex. In it the meaningfulness of the ekphrasis in the poetic field of the master turns out to be equal to his artistic destiny, through the fresco-like combination of the described achievements features emerge the lines of inspired children`s creative maturation, youthful strengthening and ultimately artistic work are drawn, in which the apogee of the artist’s talent, in all its polychromy, is finally reached: in essence, in purpose and meaning. In its turn, in the discreteness of the descriptions indirectly reveals the dynamics of its evolution, the amplitude of which from the seed of inspired abilities reaches the exuberance of an all-powerful philanthropic mastery, sensual and sensitive, insightful, frank, caring, which overcomes existential reflections in its longing for the good, bringing creativity closer to life-affirming thought. And all these phases have one common quality: humanity is imprinted in each of them. With the isolated potential of ekphrasis, the poetics of the novel rises to the horizons of the creativity existence idea and achievements of an artistic genius for “creating a temple”, in particular in the human soul, and from this semantic palette emerges a kind of “glorification of artistic skill” not only by the perfection of its magnificent creations, but also primarily by imprinted in them love for life and the world, singing of beauty, equivalent to the unity of goodness and humanity. In this way, the highlighted experience of ekphrasis obviously strengthens the expression of humanity in the axiological dimensions of civilizational assets in Pavlo Zahrebelnyi`s novel “Wonder”.

Barbara Pasa

This essay deals with the exploration of Artificial Intelligence (hereafter AI) in fashion design by considering a three-dimensional space based on the following coordinates: [complexity]; [education and training]; [made in Italy]. They outline a very wide space in which different techne - Law, Artificial Intelligence and Design - address the challenges of contemporary society. They outline a thoughtful journey of reflection, including socio-economic and cultural aspects, to technical innovation. Specifically, when addressing issues of technical innovation, the emphasis is not on a simplistic notion of technique as a synonym for technology, alluding to mere technical processes and machines, but on techne as “the method of doing something according to art” (Maldonado, 2005, p.7). In this context, the designer becomes an essential actor in democratic processes, serving as a co-regulator and participating as a rule-maker in the design of rules, algorithms and structures, even before the creation of imaginaries and forms, in the pursuit of convergence (or divergence) between artificial intelligences and human(wet) intelligences.

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.

Xu Xu, Chao Zheng

In this paper, we study a natural discretization of the smooth Gaussian curvature on surfaces, which is defined as the quotient of the angle defect and the area of a geodesic disk at a vertex of a polyhedral surface. It is proved that each decorated piecewise Euclidean metric on surfaces with nonpositive Euler number is discrete conformal to a decorated piecewise Euclidean metric with this discrete curvature constant. We further investigate the prescribing combinatorial curvature problem for a parametrization of this discrete curvature and prove some Kazdan-Warner type results. The main tools are Bobenko-Lutz's discrete conformal theory for decorated piecewise Euclidean metrics on surfaces and variational principles with constraints.

Seyyedeh Maryam Poursaleh Amiri, Seyyed Saeed Seyyed Ahmadi Zavieh

Safavid art can be recognized from the magnificence of architectural works and decorative arts and paintings. Zarrinfam dishes of this era are part of the latest masterpieces of Zarrinfam of Iran, which were manifested in different fields in illustration. Unlike Safavid blue and white porcelain, Zarrinfams are designed without elements from the Far East. From about this period until the thirteenth century AH, the Zarrinfams were decorated with plant and animal motifs. Among the countless Zarrinfam pottery of the Safavid era, adorned with plant motifs, the image of the poppy flower increased. Plant motifs and especially the accompanying image of two plants, poppy and iris, can be seen in abundance in the Zarrinfam of this period. Iris or Irsa is one of the most frequently used designs on works or often with poppies on dishes. The iris was previously a symbol of Amesha Spenta Ameretat in ancient Iran. Ameretat was a symbol of immortality and protection of plants, guardian angel of foods and medicines to eliminate harm and diseases of plant origin. However, the repetition of the image of the poppy plant can be related to the situation of the Safavid society in the consumption of various sedatives that were widespread in the daily lives of ordinary people and of the court. These motifs are an allusion to the typical consumption of Kooknar and poppy, which was used with motives other than medicine, such as pleasure and euphoria. Widespread beliefs, such as the encouragement or increase of sexual potency among the upper class, seem to have been among the causes of drug overdoses in this period. However, religious rites and religious rulings could not prevent the overuse of drugs, because there was no definite ruling on the prohibition of drugs in Islamic jurisprudential discussions, and therefore they had become very popular among the rules of the Safavid Shiite rulers.On the other hand, the ban on the consumption of wine among religious people led them to resort to other entertainments, such as various drinks and delightful snacks in coffee houses and poppy houses. The prevalence of opium use in this era caused physicians and perfumers to think of a medicinal solution to reduce the harm. Therefore, treatment strategies such as remedies or antidotes were used to reduce its side effects based on medical sources.The purpose of this article is to obtain the conceptual references of the image of poppy and iris concerning social phenomena and to explain the reason for the accompanying image of these two plants on Zarrinfam dishes. With the aim of a different approach to reading medical history, this study re-reads the works and explores the causes and effects of medical history behind social currents. Accordingly, the research answers the following questions; which social event has been related to the illustration of these two paintings on Safavid Zarrinfam dishes? How is the image of two irises and poppies in the medical history of the Safavid era explained?The present study was performed in a descriptive-analytical manner on the image of two irises and poppies on Safavid Zarrinfam dishes. Collecting information has been done through library studies and observation. The study's statistical population includes Zarrinfam vessels preserved in the British Museum and the Victoria and Albert Museum, and ten samples presented in a selective manner of Safavid Zarrinfam vessels have images of poppies and irises.In this research, we have first tried to compare the images of poppies and irises in nature with the reference images of medicinal plants and the images painted on Zarrinfam pottery to prove the validity of the designs. Then, by introducing sample images and describing the physical and therapeutic properties of ancient medical sources, each in the history of medicine is discussed. Finally, using the contents of encyclopedic medical sources and the impact of social phenomena, the relationship between the image of these two plants and the reason for the association of these two images is explained. The method of analyzing research data is based on qualitative studies.The general results of the study indicate the dependence of two images of poppy and iris related to social behaviors such as the prevalence of Safavid drugs. Due to the widespread prevalence of Safavid narcotics, therapeutic strategies to eliminate their harms and toxins were considered logical and rational. Therefore, the connection between these two images can be considered a crystallization of medical history. According to reliable ancient medical sources in the Islamic period and pre-Islamic sources, the iris plant has been used for its opium-repellent properties. As a result, the proximity of these two images is not in terms of aesthetics, but in the manifestation of medical communication that has arisen from a social structure.

Chakorn Pasuwan, Preeda Thiensongrusamee, Nureehan Da-U- Re et al.

Nest boxes are a conservation tool for increasing the availability of nests. The efficacy of nest boxes can be assessed by examining the breeding parameters of birds in nest boxes to see whether data are comparable with tree cavities. The hornbill artificial nest research was conducted in Budo-Su-Ngai Padi National Park, Thailand since 2003. This project aims to increase the breeding propensity of two large species of hornbills; the Great Hornbill (Buceros bicornis) and the Rhinoceros Hornbill (Buceros rhinoceros) that coexist in the study area, by utilizing nest boxes. The nest boxes were constructed from fiber-reinforced plastic. There were two designs; small nest box: 50 x 49 cm at base and 95 cm height, and large: 65 x 70 cm at base and 95 cm height. Twenty nest boxes were installed between 2004 and 2006. These nest boxes were monitored from 2004 to 2021. The study results indicated that the proportion of nest occupancy of Great Hornbill breeding in natural nests was higher than nest boxes: 48.9% and 31.4%, respectively (the two binomial proportions test gives: Zc= 4.01, P < 0.0006 < α = 0.05). The results also showed that the Great Hornbill prefers to select a large nest box than a small one: 37.3% and 17.3%, respectively (the two binomial proportions test gives: Zc = 3.4, P < 0.00068 < α = 0.05). Eight nest boxes so far have been utilized by hornbills: six by Great Hornbill with 58 nesting successes and two by Rhinoceros Hornbill with 1 nesting success. The average life cycle of the fiberglass nest box is about 11.38±4.23 SD years. The study results suggest that reproduction parameters of hornbills in nest boxes are different from natural cavities in many aspects. Our two target species do not equally benefit from nest boxes.

Mahak Rouhina, Mohammad Khazaei, Abutorab Ahmadpanah

Among the traditional arts, Islamic architecture and its associated decorations has always been the perfect setting for the presence of various visual elements, particularly decorative ornaments. A number of remaining monuments from the Ilkhanid era such as the tombs of Qom's Green Dome (the tomb of Khajeh Ali Safi which is the main focus of this research) provide a clear example of this artistic richness that due to its potential visual abilities can be found in today’s art and in branches of contemporary art including graphic arts. This research is based on a "historical-comparative" method and a collection of findings based on library and documentary sources and field surveys. Firstly, a brief study of the historical background of the monument and the identification of the types of ornamentation used in the tomb, including herbal, geometric and inscriptional decorations among which the plant motifs occupy most of the ornamentation will be studied. In the following, the factors and elements of this role are discussed and their visual characteristics (rhythm, balance, symmetry, composition, unity, harmony of positive and negative space, etc.) are identified in order to understand the graphical dimensions of these motifs. Given that visual qualities and literacy are well-respected in these motifs, the above decorations can become a rich visual source for today's graphic designers. Research objectives: 1. Identifying the variety and characteristics of the motifs of Khajeh Ali Safi's tomb. 2. Extraction of motifs and studying its graphical features which can lead to revival and reuse of motifs in today's graphic arts. Research questions: 1. What are the features and visual literacy of the tombstone designs of Khajeh Ali Safi? 2. What is the diversity of the decorative elements of the tomb?

Dendi Sigit Wahyudi, Respati Wikantiyoso

Limbungan (Bale Tani) merupakan rumah tradisional vernakular sasak yang ada di kabupaten lombok timur. Dengan berkembangnya era moderenisasi, budaya lokal semakin tergeser ekstesitensinya. Penelitian dapat dilakukan dengan dokumentasi bale tani, untuk mengangkat nilai – nilai kearifan lokal yang terkandung dalam pembangunan rumah tradisional yang ada di Kabupaten lombok timur, dan dapat dipelajari bagi arsitek, pemerintah setempat dan masyarakat khususnya didaerah Pulau Lombok (Sasak). Penelitian ini bertujuan untuk memperkaya pengetahuan tentang rumah tradisional yang secara bijaksasna didesain oleh nenek moyang. Kabupaten lombok timur merupakan kabupaten yang penuh dengan rumah tradisional serta adat dan budaya yang sangat kental. Sehingga kajian ini dapat memberikan masukan dan dapat tercipta bangunan yang memperhatikan konsep ekologis serta kearifan lokal suku sasak.

Žukienė Rasa

The main purpose of this report is to discuss the influence of political power on art studies in Lithuania and the creative work of artists from 1940 to 1953. It will be based on the destruction of the Kaunas Institute of Applied and Decorative Arts, which is little known to art historians. After the Second World War, this institute actually followed the traditions of Kaunas Art School (1922–1940): that was the reason for its closure in 1951. The closure was officially called the reorganisation and continuation of art studies in Vilnius.

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.

Shujun Ban, Marinella Ferrara

There is a vast body of research exploring the roles women can contribute to de- sign creation and crafting. In the past, historical studies have paid attention to the role of women in the applied and decorative arts, more than the role of women in design and technologies, giving men a more significant role in the manufacturing technological dimension. In recent years, the consumers, as well as the design- ers’ interest in handcrafting has grown in popularity in Europe, USA, and finally also in Asia, for many different reasons worldwide showing a rich phenomenol- ogy. Craft exhibitions, fairs, shows, and web platforms (like Etsy.com) have been making echo to the century Arts and Crafts movement. This new craft movement, characterized by a growing community of young women, has also been seen as a political phenomenon with some aspects related to a third wave feminist do-it- yourself. Beyond the political aspects, women crafting has been acquired more and more considerable cultural, social, and commercial values. In this article, we present a systematic analysis of the rich phenomenology of contemporary women crafting with the support of available evidence-based liter- ature concerning the role of women in today’s and future design and production. We organize our findings into clusters describing the key roles that women play in the design creation and crafting. We also put light in the future design connecting women thinking and craft sensibility to new technologies (like 3D or 4D printing ).

Diederik Aerts, Massimiliano Sassoli de Bianchi

The view exists that Bell-tests would only be about local incompatibility of quantum observables and that quantum non-locality would be an unnecessary concept in physics. In this note, we emphasize that it is not incompatibility at the local level that is important for the violation of Bell-CHSH inequality, but incompatibility at the non-local level of the joint measurements. Hence, non-locality remains a necessary concept to properly interpret the outcomes of certain joint quantum measurements.

Mihail Gheațău

In 1642, the voivode Vasile Lupu and the Holy Metropolitan of Barlaam completed the painting and masonry of the Princely Church of the new monastery dedicated to the Three Holy Hierarchs in Iași. Unprecedented in the tradition of our architecture, the church was the most important and most spectacular edifice built up until then in Moldova, a successful and unrivaled artistic experiment. The real challenge of the architect was to gather, synthesize and harmonize in a coherent whole elements of the Byzantine background with those of the Oriental ornamentation, of which neither Gothic nor Renaissance influences, all grafted on the basic texture of the local traditional motifs, are lacking. The silent symphony composed of a multitude of decorated notes, meaningfully spread on the stone pages of the majestic scores, is part of the kind of artwork that cannot be easily taken as a yardstick for other similar attempts. The result is a successful synthesis that, although it has not revolutionized the history of our architecture as a prototype, impresses with the novelty and uniqueness of the concept. Almost all the elements of the decoration express directly or through other graphic replacements, solar symbols or messengers and diffusers, which seem to constantly rotate around the church in unceasing prayer. If the geometrical motifs of traditional plastic arts are only the letters of popular decorative art, then the facades of the church are large parchments which, by the convention of an artistic language that intercedes our understanding, cover the church in words that constantly proclaim and glorify the Incarnate Word. The recourse to the dynamics of the vegetal element, which continuously grows towards light, signifies life without a beginning and end, is an invitation to the search and discovery of the Tabor Light that crosses the stone megadecor of the facade, giving us a plastic and symbolic reduction of the history of salvation.