Hasil untuk "Fine Arts"

Atte Oksanen, Anica Cvetkovic, Nalan Akin et al.

Tri Aru Wiratno, Brigitta Callula

The evolving nature of beauty in digital fine arts aesthetics signifies profound shifts within contemporary social and cultural contexts. Technological advancements have enabled artists to explore new mediums, creating works that reflect and respond to current societal issues. This study examines the paradigm shift in digital fine arts, focusing on the interpretation and manifestation of beauty in digital creations. It explores the interplay between digital aesthetics and societal realities, providing insights into the transformation of beauty in the digital age. An interdisciplinary approach is utilized, incorporating textual analysis of relevant literature, participatory observation at art exhibitions and online platforms, and a comprehensive literature review. These methods trace the evolution of beauty in digital fine arts and analyze how artists incorporate visual, auditory, and interactive elements. The research demonstrates that technological progress has significantly impacted the creation and perception of beauty in fine arts. This transformation includes broader definitions of aesthetics, integrating multisensory experiences and community participation. Digital fine arts now serve as a dynamic medium that reflects diverse social, political, and cultural themes. The transformation of beauty in this field underscores the complex relationships among art, technology, and society. Digital artworks provide innovative aesthetic experiences and mirror contemporary social dynamics. Despite concerns regarding the authenticity and preservation of digital art, its role in expanding artistic expression and fostering innovation is undeniable

Saif Qusay Yass, Farhan Omran Musa

The twentieth century has produced most of the concepts in constructive criticism of scientific, philosophical and artistic experiences that came under the name of post-modernism, and the term (participation in the theatrical presentation) is one of the modern terms that came from the experiences of directors who rebelled against the realistic trend in art, including (Brecht, Artaud and many others), and through the research, the researcher concluded that participation, although it is a modern term, has deep roots in theatrical experiences throughout the historical ages since the time of the Greeks until now, and that post-modern directors tried to reach through making approaches with some historical experiences and theatrical philosophy for their directing style for the participatory theatrical presentation, and as a result, the researcher took in the theoretical framework the first topic (the space of the participatory presentation of the theater throughout the ages) and the second topic (the directorial works of the participation of the most prominent theatrical directors), and in the third procedural chapter he took the work of a multinational group (Belgian - Turkish ) With a presentation entitled (Gilgamesh) in which the director employed the participatory method and communicative interaction in terms of the spatial environment and the role of the recipient in the theatrical performance, and after that I reached the most prominent results and conclusions that had a positive effect in the participatory work of the theatrical performance .                               

Z. Cai, Keke Cai, Tao Huang et al.

A total of 417 intangible cultural heritage objects (ICHOs) are intertwined with traditional Chinese art, showcasing China’s rich historical heritage and distinctive creative allure. However, ICHOs currently grapple with a significant succession quandary due to modernization endeavors and the impacts of globalization. Hence, this study scrutinizes the spatial distribution of ICHO projects and inheritors and examines methodologies for inheriting these 417 ICHOs, employing approaches such as the closest neighbor index, Moran’s I index, kernel density estimation, geographic concentration analysis, and imbalance index assessment. Research indicates that ICHOs exhibit a spatial aggregation pattern, yet there is no substantial spatial correlation observed in their distribution. The national distribution highlights two core density zones: Beijing and Shanghai. In China, ICHO programs display uneven distribution across various types, levels, regions, and cultural zones. Regarding the ethnic composition of projects and inheritors, ICHO projects predominantly focus on the Han ethnic group, with a scattering of minority representations. Minority ICHO projects and inheritors are concentrated in central and eastern areas, while Han ICHO projects and inheritors are concentrated in central and western regions. Among the 148 ICHO projects lacking inheritors, 203 have one inheritor, and only 66 have several inheritors. Shanghai serves as the core density zone for 269 ICHO projects with inheritors, while Beijing holds that status for 148 ICHO projects without inheritors. Out of the 148 ICHO projects lacking inheritors, 115 belong to the Han ethnic group, with 33 split among 16 different ethnic minorities, and 2 have no inheritors. These disparities underscore the uneven distribution of ICHO projects and the critical issue of inheritance. This study identified education, tourism, digital communication, incentivizing inheritors, and international cooperation as potential strategies for preserving ICHA. Moreover, a sustainable inheritance pathway integrating government, education, tourism, and media is imperative for the effective perpetuation of ICHOs’ legacy.

Obinna Donald, Joshua Alahira, Zamathula Queen et al.

The integration of sustainability principles into graphic and industrial design education has become increasingly imperative in response to global environmental challenges. This paper explores the incorporation of sustainable practices within design education, particularly from the perspective of fine arts pedagogy. By examining the intersection of sustainability and design education, this study identifies key strategies and methodologies to infuse sustainable principles into the curriculum. Drawing from fine arts perspectives, it delves into the importance of interdisciplinary collaboration, experiential learning, and critical thinking in fostering sustainable design practices among students. Furthermore, the paper investigates the role of design educators in cultivating a mindset of environmental responsibility and ethical design practices. It explores the challenges and opportunities associated with integrating sustainability into traditional design curricula, emphasizing the need for innovative approaches that blend theory with hands-on application. Through case studies and best practices, this research highlights successful initiatives and projects that demonstrate the effective integration of sustainability into graphic and industrial design education. These examples showcase how incorporating sustainability principles not only enhances the ecological footprint of design processes but also promotes social responsibility and cultural awareness. Overall, this paper contributes to the ongoing discourse on sustainability in design education by offering practical insights and recommendations for educators, institutions, and policymakers. It underscores the transformative potential of integrating sustainability into graphic and industrial design education, envisioning a future where designers play a proactive role in shaping a more sustainable and equitable world.

Joshua Alahira, Nwakamma Ninduwezuor-Ehiobu, Kehinde Andrew Olu-lawal et al.

The intersection of graphic design and sustainability presents a dynamic arena for eco-innovative practices, particularly in the realm of industrial design. This review explores the integration of fine arts principles within graphic design to enhance sustainability initiatives in industrial design processes. The essence lies in leveraging the creative potential of graphic design to foster ecologically conscious solutions, thus contributing to the broader ethos of sustainable development. Eco-innovative graphic design practices encompass a range of strategies aimed at minimizing environmental impact while maximizing aesthetic and functional value. Drawing inspiration from fine arts disciplines, such as painting, sculpture, and photography, designers infuse their work with elements that reflect ecological awareness and responsibility. By integrating themes of nature, conservation, and sustainable living into visual communication, graphic designers play a pivotal role in raising awareness and inspiring action towards sustainable practices. In the context of industrial design, the collaboration between graphic designers and product developers yields innovative solutions that prioritize environmental sustainability. Through thoughtful consideration of materials, production processes, and end-of-life disposal, eco-innovative graphic design practices contribute to the creation of products that are both visually compelling and ecologically sound. Whether through the use of recycled materials, minimalist packaging designs, or biodegradable components, graphic designers harness their artistic prowess to redefine the parameters of sustainable design. Moreover, eco-innovative graphic design practices extend beyond the realm of physical products to encompass digital experiences and branding initiatives. Through digital platforms, designers have the opportunity to promote sustainability messaging, advocate for environmental causes, and encourage behavior change towards more eco-conscious consumption patterns. In conclusion, the integration of fine arts principles within graphic design serves as a catalyst for enhancing sustainability in industrial design. By leveraging creativity, innovation, and visual communication, designers have the power to shape a more sustainable future where ecological considerations are central to the design process. Embracing eco-innovative graphic design practices is not merely a stylistic choice but a conscientious commitment towards harmonizing human creativity with the imperatives of environmental stewardship. Keywords: Eco-Innovative, Graphic Design, Fine Arts, Industrial Design, Sustainability, Review.

Joshua Alahira, Emmanuel Chigozie Ani, Nwakamma Ninduwezuor-Ehiobu et al.

In contemporary design discourse, the intersection of fine arts with industrial and graphic design emerges as a pivotal avenue for promoting sustainability. This paper explores the evolving relationship between fine arts and design disciplines, highlighting their collaborative potential in addressing environmental challenges. By adopting a cross-disciplinary approach, it investigates how incorporating principles of fine arts into industrial and graphic design practices can foster sustainable solutions. The paper begins by contextualizing the current environmental crisis and the imperative for sustainable design interventions. It then delves into the fundamental principles of fine arts, emphasizing its emphasis on creativity, expression, and aesthetic sensibility. Through a comparative analysis, it elucidates how these principles can complement the technical aspects of industrial and graphic design to imbue products and visuals with sustainability-driven narratives. Furthermore, the paper examines case studies and examples where fine arts techniques and philosophies have been integrated into design processes to enhance sustainability. These include practices such as upcycling, biomimicry, and eco-conscious visual communication strategies. Additionally, it explores the role of fine arts education in nurturing a mindset that prioritizes environmental stewardship within design professionals. The findings suggest that by embracing a cross-disciplinary approach that embraces fine arts principles, designers can transcend traditional boundaries to create innovative, sustainable solutions. This synthesis of art and design not only enriches the aesthetic appeal of products and visuals but also instills a deeper consciousness of environmental responsibility. Ultimately, this paper advocates for a holistic integration of fine arts within industrial and graphic design practices as a means to promote sustainability in the face of global challenges. Keywords: Fine Arts, Graphic Design, Cross-Disciplinary, Industrial, Sustainability, Reviews.

Syra Kalbermatten

This article explores the innovative collaboration between the Rubey platform and the Royal Museum of Fine Arts, Antwerp. Through the tokenization of the artwork Carnaval de Binche by James Ensor, this platform made it possible for interested investors to purchase blockchain-registered Art Security Tokens within this artwork and become co-owners of it—at least from an economic perspective. Although fractional ownership platforms for art have been established before, this is the first time an art investment opportunity like this has materialized itself in an explicit partnership with a museum. The tokenized artwork will be held on public display within the Royal Museum of Fine Arts Antwerp, for a period of ten years—a significant departure from the usual practice of storing such pieces in a storage vault—before it will be sold again. This article contextualizes this practice within both the ‘assetization’ of art that has increased in recent decades and the financial challenges facing Belgian—more broadly speaking, European—public museums. Based on a limited number of interviews with the stakeholders and desk research, this article subsequently explores the more practical benefits and concerns of a collaboration like this and presents an analysis of this practice drawing upon publications within the field of economic sociology. Since we find ourselves only at the beginning of this partnership, some questions will be raised for further research.

Елена Багина

Directions (styles) in culture have different reserves of strength and different inertia. Among them there is a unique one capable of revival. It is classicism, which is characterized by a timeless understanding of the laws of harmony and beauty based on the forms and images of ancient art of Greece and Rome. Classicist thinking and classicism did not leave European culture in the 20th and 21st centuries, but its forms changed. The grafting of art nouveau, avant-garde and postmodernism into classical art and architecture did not pass without a trace. Antagonists shook the established norms and left, while classical art and architecture expanded the range of creative possibilities and revived, preserving the basic principles.

O. Ozturk

In this study, 21st century skills and technological tendencies of the students of the Faculty of Fine Arts were examined with a relational approach in terms of some variables. With this aim, the 21st century skills and technological competences of the students of the Faculty of Fine Arts were compared in terms of gender and grade level variables. In this respect, this study is a comparative relational survey research. The study was carried out with 198 students studying fine arts at different universities in Turkey. The 21st century skills scale and the technological susceptibility scale were used as data collection tools. In the study, t-test for independent groups, one-way analysis of variance and correlation analysis techniques were used for data analysis. In the study, it was found that the 21st century skills of fine arts students were relatively high, while their technological susceptibility was moderate. It was found that the 21st century skills and technological predispositions of the participant students differed in terms of gender and grade level. Finally, a positive, significant and high-level relationship was found between the 21st century skills and technological predispositions of the students of the Faculty of Fine Arts.

M. Ozturk, Mehmet Susuz

The aim of this study is to examine the creativity of university students studying in the field of fine arts in terms of demographic and school factors. In this context, the Kaufman creativity areas of the participant students were examined through a comparative approach on the basis of the comparative relational survey research model. The study group of this research consists of 241 Fine Arts Faculty students. Kaufman Creativity Fields Scale was used to collect research data. According to the analysis of the data, the academic creativity of the participating students was low, their mechanical creativity was at a medium level, and their artistic creativity was at a high level. In addition, significant differences were found in the creativity areas and levels of the students according to gender, department type, class and achievement levels. It was observed in the research that the academic creativity of the participating students was low. In this context, activities and practices for students' skills such as research, problem solving, and using the scientific method in original processes can be included in all departments of the relevant faculties.

Fallyn M. Lee, Julie M. Koch, Nikita Ramakrishnan

ABSTRACT In this study, we explored possible differences between students studying the fine arts and their non-art major peers on three separate variables: mental health, stress, and time spent on academic work. We found that students who study the fine arts report higher rates of mental distress, stress, and spend more time on academic work than do their non-art major peers. We offer recommendations for therapists working in university and college counseling settings.

محمد المهداوي , صادق محمد

تعد الرموز من التقانات المهمة  التي تثير فضول المتلقي وتزيد رغبته في الوصول الى قصد الشاعر ، والكشف عن دلالاتها القارة داخل نتاجه الشعري ، فديناميكية الرمز تكفل ولوج القارئ الى عمق النص ، فعمل القارئ يصبح فضاء لقراءات متعددة ، ذات الدلالة البعيدة عن الواقع المذكور ، إذ ان الرمز المكاني في النص الأدبي أداة فاعلة في كشف الخبايا النصية المفروزة من دلالاته في بعده المعبر عن البوح المكنون في أهواء الشاعر المكبوتة في دواخلها والمنطوية على ذاتها ، لذا فان اختيار هذا الموضوع يعد محاولة لتسليط الضوء على تلك الرموز وبخاصة الطللية منها ، وإظهار أهميتها في شعر حسام الدين الحاجري ، وما دامت الرموز متعلقة بالقارئ أكثر من ارتباطها بالنص ، لذا وجب على القارئ تفكيك تلك الرموز ، فهذا البحث قائم على رصدها والكشف عن مكنوناتها وبخاصة الرموز (الطللية) بوصفها مكانا محملا بأبعاد وايحاءات كثيرة .

Timothy Latim, Jonathan Kplorla Agbeh

This article presents two modernist building case studies, one each from East and West Africa which explore approaches to modernist public building conservation. The Rukurato Hall in East Africa, formerly used as a regional assembly hall for the Bunyoro Kingdom in Uganda, is now used as the parliament building of the Bunyoro Kitara Kingdom. The Great Hall in West Africa at the Kumasi University of Science and Technology (KNUST) serves as an institutional hall; it is a monument of academic and cultural significance in Kumasi. This article delves into the historical evolution of the Great Hall, which has hosted numerous essential events, ranging from local academic gatherings to distinguished international conferences since 1967. The Great Hall’s rich heritage and architectural prominence have been subject to various interventions aimed at conserving its essence. The examination of these interventions in maintaining the integrity of the building while adapting to the changing needs of the university underscores the delicate balance required between modernization and safeguarding cultural and architectural legacies. Both case studies present contrasting views on the challenges of conservation in the African context, resulting in different conservation efforts. In the case of the Rukurato Hall, arguable the loss of function for a significant period, before reinstatement in the late 1990s and challenges of funding have greatly influenced the ability to realize conservation ambitions. In the Great Hall, whilst conservation funds were secured, and the conservation effort was successful, the use of the Hall has been ‘controlled’ and various actions have arguably tested the authenticity of the conservation process transforming the building aesthetic in the process. This article employs methods of document analysis, archival research, and interviews with key stakeholders.

Maksić-Mulalić Milica

Micro-spaces - small-scale public city spaces - represent an important element in the structure of the city, both functionally and aesthetically. Due to their small scale, their importance is often overlooked by experts and investors. The paper describes the concept of canopies at public transport stops in Belgrade, which were created in the period from 2007 to the present day. By multiplying the basic type of canopy and its variations, a recognizable element of the city image is built. By upgrading the basic project and introducing additional elements from the repertoire of modern design, such as "green" constructions, "smart" technologies, energy efficiency, etc., this form of urban space would be additionally affirmed and contribute not only to the comfort of users, the creation of the identity of the city and public city transport, but also to general interests such as safety, health and environmental protection

Xu Jin, Y. Ye

The purpose of our research was to explore the impact of fine arts education on psychological wellbeing among undergraduate students through moderating role of creativity and self-efficacy. Art is the most effective medium for expressing human ideals, culture, identity, lifestyles, emotions, and societal experiences. Cross-sectional research was carried out on 376 undergraduates in the 2022–2023 academic year at the public and private Chinese universities, and those students who are currently enrolled in fine arts courses. A link to the Google Doc survey was sent through email and social media channels (i.e., WeChat). The time frame of the data collection was 3 months, from February 2022 to April 2022. While analyzing the obtained data, we used IBM SPSS version 25, which includes both descriptive and inferential statistics. The overall results of the study indicate that the fine arts education positively and significantly influences psychological wellbeing. Moreover, findings also indicate that the creativity and self-efficacy positively and significantly moderate the relationship between fine arts education and psychological wellbeing. The study highlighted the significance of fine arts education in Chinese students. Through this study, students studying in this field should be made more aware of the importance of fine arts education and its link with psychological wellbeing. Further, art courses should be added to the curriculum at different levels of education to boost the creativity and self-efficacy of higher education students in China. Implications for parents, students, and teachers are also discussed.

Xiaodong Sun, Rong Fu, Guoqing Zhang et al.

The educational reform of the twenty-first century was a successful attempt in which high technology, media, and multimedia computer information work together. The use of instructional media doubled the effect with half the effort in promoting learners' motivation to learn. This was achieved by providing specific and authentic information, changing attitudes, and even being independent of instruction. The rapid development of technology also brings innovations in teaching media. The purpose of this study is to investigate the effects of multimedia integrated fine arts education on students. A quasi-experimental design was adopted in this study. College students from Shanxi Province were selected as the participants of a one-semester experimental study. The research results show significantly positive effects of (1) multimedia integrated fine arts education on learning attitude, (2) multimedia integrated fine arts education on learning satisfaction, and (3). mobile learning on learning satisfaction. The experimental observation revealed that, when fine arts works are exhibited through multimedia, students have closer contact with them. Students gradually feel more involved in art and show interest in art, as well as a desire to explore. Such a process of change will enable students to change their learning attitude into active absorption of professional knowledge of fine arts. As a result, their competence in fine arts can be improved significantly. It is expected that the results will contribute to the fine arts and humanities with practically tested theories as a reference for teachers and future studies in the field.

Mine Ulku Ozturk, M. Ozturk

In this study, it is aimed to comparatively examine the social media usage habits and social media awareness levels related to appearance of the students studying at the Faculty of Fine Arts in Turkey. The study was conducted in accordance with comparative relational screening and correlational research designs. 203 students studying in the fine arts faculties of four different universities participated in the study. According to the research findings, it has been observed that a large proportion of the participants use 'Social networking sites (Facebook, Instagram, Myspace, Google plus, etc.)' and 'Photo sharing sites (Instagram, Flickr, etc.)'. However, the social media awareness levels of the participants studying at the Faculties of Fine Arts were found to be low. While the social media awareness levels of the participants about appearance did not differ according to gender, class and achievement status, significant differences were found according to the departments. Finally, a significant relationship was found between the social media awareness levels of the students of the Faculty of Fine Arts and the frequency of use of social media platforms.

Volodymyr Tomashevskyi, N. Digtiar, L. Chumak et al.

The importance of the outlined problem lies in the fact that professional training of future fine arts teachers should take into account the trends of recent general scientific, socio-cultural and moral-aesthetic processes. Analysis of the professional training system in the context of the requirements of postmodern society gives grounds to claim that it requires significant updating. In particular, individualization and democratization of education, interdisciplinarity, departure from traditional patterns of professional training, rethinking of pedagogical ideas and postulates in the context of quality assurance, etc. are paramount. The article defines the structure of artistic and pedagogical competence of a fine arts teacher. Its structural elements (artistic component (artistic and aesthetic education, skill)) and pedagogical component (psychological and pedagogical culture, reflection) and ways of their formation are determined. Ways to improve professional training of future fine arts teachers taking into account the postmodern features of higher education development (ensuring continuity of creative education; updating the scope of professional training; the use of information technology in the process of professional training of future fine arts teachers; emphasis of the educational programme on personal and creative development, self-fulfilment of students of artistic specialties. Development of pedagogical conditions for formation of artistic and pedagogical competence in future fine arts teachers and organization of a pedagogical experiment in order to determine their effectiveness seems promising.

Michele Valentino

Through exploring some of Kahn’s works, the essay aims to demonstrate the deep connection between drawing-diagrams and the realized work, where form materializes through the figuration of its simple patterns. To clarify this potential for listening, the essay addresses the dimension of drawing in the work of Louis I. Kahn. In his design research, the architect understands and uses the interpretive power of diagrams, which, in the book Louis I. Kahn: Conversations With Students (1998), calls “form drawing”. A thought-form considered fundamental to the Estonian architect, who from the 1960s onward would use this diagrammatic tool as a measure for investigation in defining potential forms of architecture.