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Resumen: En 1735 Baumgarten publica su obra Reflexiones filosóficas acerca de la poesía, en ella, por primera vez, desarrolla la idea de una ciencia de lo sensible capaz de aprehender la idea de lo bello en el arte, a la cual designará como estética. Esta búsqueda por determinar qué es la belleza y cuál es el estatuto que tiene la experiencia estética dentro del edificio del conocimiento parece estar más relacionado con los planteamientos leibnicianos en torno a la sensibilidad, que con el marco gnoseológico wolffiano, no solo por el manejo que se da de los conceptos de perfección, belleza y verdad, sino porque en el desarrollo de sus investigaciones sobre la sensibilidad parece ejecutarse mecanismos de subjetivación similares, marcados por un fuerte trasfondo perspectivista. En vista de esto, el presente ensayo se pregunta por la influencia leibniciana en la filosofía baumgartiana, específicamente por la cuestión acerca de cómo influye el concepto de pequeñas percepciones, en tanto que elemento central de la concepción perspectivista de Leibniz, en la concepción de la estética por Baumgarten. Abstract: In 1735 Baumgarten published his Philosophical Reflections on Poetry. There he develops for the first time the idea of a science of sensibility capable of apprehending the idea of beauty in art; a science which he denominates aesthetics. This quest to determine what beauty is and what the status of aesthetic experience within the edifice of knowledge is seems to be more related to the Leibnizian approaches to sensitivity than to the Wolffian gnoseological framework, not only because of the way in which it deals with the concepts of perfection, beauty and truth, but mainly due to the fact that, in the development of Baumgarten’s research on sensitivity, mechanisms of subjectivation similar to the ones presented by Leibniz seem to be deployed -mechanisms characterized by a strong perspectival background. In view of this, this paper investigates the Leibnizian influence on Baumgartian philosophy, and specifically the question about how the concept of petites perceptions, as a central element of Leibniz’s perspectivist conception, influences the notion of aesthetics developed by Baumgarten.

Resumen: A partir de una aproximación etnográfica a la vida cotidiana de mujeres artistas, este artículo explora el uso de la metodología móvil para comprender la vivencia del tiempo y el espacio, en el marco de las transformaciones del trabajo y de la experiencia urbana contemporánea. Se busca visibilizar las tensiones y estrategias de las mujeres madres profesionales del sector artístico al momento de compatibilizar sus tiempos productivos, reproductivos y de ocio en la ciudad de Santiago de Chile. Para esta investigación, durante el 2018 y el 2019 se llevó a cabo un trabajo de campo multisituado, con una metodología móvil de seguimiento de las actividades y los desplazamientos diarios de las participantes de estudio, que implicó transitar con ellas por los diversos contextos, públicos y privados, de su vida personal y laboral. De los análisis, se puede concluir que las mujeres artistas realizan un esfuerzo permanente para organizar una rutina en la que los tiempos y espacios del arte, el ocio y la maternidad resultan inevitablemente interpenetrados. La desigualdad de género no solo repercute en la sobrecargada conciliación de la doble jornada, sino también en la calidad de sus momentos de ocio y en su labor creativa. El uso de una metodología móvil me permitió capturar in situ esta gestión cotidiana del tiempo, así como los costos de género para sobrellevar un estilo de vida marcado por la superposición temporal y la movilidad cotidiana en la ciudad. Con estas decisiones teóricas y metodológicas, el artículo contribuye a las discusiones sobre el valor de la metodología móvil y los usos renovados de la etnografía, al tomar distancia de los enfoques tradicionales de la investigación social, que construyen sus objetos de estudio y se aproximan a los actores en contextos fijos dentro de la ciudad. Abstract: Based on an ethnographic approach to the daily life of women artists, this article explores the use of the mobile methodology to understand the experience of time and space in the context of the transformations of work and the contemporary urban experience. It is intended to shed light on the tensions and strategies of working mothers in the artistic sector when they have to reconcile their productive, reproductive, and leisure time in the city of Santiago de Chile. Multisite fieldwork was conducted for this research during 2018 and 2019, with a mobile methodology of monitoring the activities and daily movements of the study participants. This involved moving with them through the various public and private contexts of their personal and working lives. I conclude, based on the analyses that women artists make a permanent effort to organize a routine in which the times and spaces of art, leisure, and motherhood are inevitably interpenetrated. Gender inequality impacts not only on the overburdened work-life balance of the double day, but also the quality of their leisure time and their creative work. The use of a mobile methodology allowed me to capture in situ this daily time management, and the gendered costs of coping with a lifestyle marked by temporal overlapping and daily mobility in the city. With these theoretical and methodological choices, the article contributes to discussions on the value of mobile methodology and renewed uses of ethnography by distancing itself from traditional approaches to social research, which tend to construct their objects of study and approach actors in fixed contexts within the city. Resumo: A partir de uma abordagem etnográfica da vida cotidiana de mulheres artistas, neste artigo, é explorado o uso da metodologia móvel para compreender a vivência do tempo e do espaço no âmbito das transformações do trabalho e da experiência urbana contemporânea. Pretende-se visibilizar as tensões e estratégias das mulheres mães profissionais do setor artístico no momento de compatibilizar seus tempos produtivos, reprodutivos e de lazer na cidade de Santiago do Chile. Para esta pesquisa, durante 2018 e 2019, foi realizado um trabalho de campo multissituado, com uma metodologia móvel de seguimento das atividades e deslocamentos diários das participantes de estudo, que implicou transitar com elas pelos diversos contextos, públicos e privados, de sua vida pessoal e profissional. Das análises, é possível concluir que as mulheres artistas realizam um esforço permanente para organizar uma rotina na qual os tempos e espaços da arte, do prazer e da maternidade resultam inevitavelmente interpenetrados. A desigualdade de gênero não somente repercute na sobrecarregada conciliação da dupla jornada, mas também na qualidade de seus momentos de lazer e em seu trabalho criativo. O uso de uma metodologia móvel me permitiu capturar in situ essa gestão cotidiana do tempo, bem como dos custos de gênero para enfrentar um estilo de vida marcado pela sobreposição temporal e pela mobilidade cotidiana na cidade. Com essas decisões teóricas e metodológicas, este artigo contribui para as discussões sobre o valor da metodologia móvel e os usos renovados da etnografia, ao se distanciar das abordagens tradicionais da pesquisa social, que constroem seus objetos de estudo e se aproximam dos atores em contextos fixos dentro da cidade.

W tekście zastosowano perspektywę semiotyczną do analizy prac artystycznych uczniów krakowskich szkół nadesłanych na konkurs pn. "Miasto wielokulturowe w XXI wieku". Przyjmując założenie, że warunkiem dla semiotyki miasta są społeczne procesy prowadzące do uznania przedmiotów w przestrzeni miejskiej za znaki, tekst ma na celu odpowiedzieć na pytanie: jakie znaki i kody konstytuują semiosferę konkursowych prac? Z analizy wynika, że uczestnicy w twórczy sposób użyli znaków zakorzenionych w tradycji Krakowa, modyfikując ich znaczenie poprzez umieszczenie ich w nowych układach syntagmatycznych ze znakami z innych kodów kulturowych. Prace te ukazują również, że wpływ interakcji kulturowych wiąże się z wzajemną wymianą znaków i dynamicznym procesem ponownego przypisywania im znaczeń. Ilustrują one także inne mechanizmy społeczno-kulturowe zachodzące w warunkach wielokulturowości i międzykulturowości. Jednym z nich jest proste zwielokrotnienie różnorodnych "pakietów kulturowych", zaś drugim - różnorodne i dynamiczne interakcje oraz przeplatanie się wielości elementów, jakie składają się na całość przestrzeni międzykulturowej. In this text, a semiotic perspective was used to analyze the artistic works of students from Krakow schools submitted to the competition entitled "A multicultural city in the 21st century". Assuming that the condition for the semiotics of the city are social processes leading to the recognition of objects in urban space as signs, the text is aimed to answer the question: what signs and codes constitute the semiosphere of works taking part in the competition? The analysis shows that the participants creatively used signs rooted in the tradition of Krakow, modifying their meaning by placing them in new syntagmatic systems with signs from other cultural codes. These works also show that the impact of cultural interactions is related to an exchange of signs and the dynamic process of reassigning their meanings. They also illustrate other sociocultural mechanisms taking place in the conditions of multi - and interculturalism. One of them is the simple multiplication of various "cultural packages", and another - the diverse and dynamic interactions and the interweaving of the multiple elements that make up the entire intercultural space.

The emergence of the Musée du quai Branly project and its inauguration in Paris in 2006 have sparked off many controversies and stimulated numerous debates about the politics of representation, the colonial heritage in museum collections, the influence of art dealers, the role of indigenous communities, but also and above all the often antagonistic relationship between ethnographic and aesthetic approaches. It is not our intention here to reopen the controversy of the origins or to settle the alternative between the End of Art and the end of museum ethnography. On the contrary, we wish to place ourselves in a historical perspective, and to take advantage of this contribution to lay down some milestones in an intellectual journey that began more than a century ago and which is still often written in the mode of discontinuity.

Data and scripts for Vessel, Pasqualette, Uran, Koldehoff, Bignardi, Vinck (2023). Self-relevance predicts the aesthetic appeal of real and synthetic artworks generated via neural style transfer. Psychological Science.

В работе раскрывается суть феномена художественной литературы, рассматривается место художественных произведений в процессе воспитания и развития ребенка в период дошкольного детства, анализируется роль детских рассказов и сказок в формировании личности дошкольника. Особое внимание обращается на специфику работы с детьми над идейным содержанием изучаемых произведений, над характеристикой образов положительных и отрицательных героев. Научившись тонко чувствовать глубину художественного слова, запоминая и воспроизводя полюбившиеся эпизоды, дети проникают во внутренний мир персонажей, оценивают их личностные качества, нравственный облик, что способствует обогащению кругозора дошкольников, их личного опыта, расширению возможности познания окружающего мира и социализации в нем. Делается вывод о том, что целенаправленное и систематичное знакомство детей с произведениями художественной литературы представляет благодатную почву для организации воспитывающего взаимодействия с ними как в условиях образовательного учреждения, так и в семейном кругу., The paper reveals the essence of the phenomenon of fiction, examines the place of works of art in the process of education and development of a child during preschool childhood, analyzes the role of children’s stories and fairy tales in the formation of a preschooler’s personality. Special attention is paid to the specifics of working with children on the ideal content of the studied works, on the characterization of images of positive and negative characters. Having learned to subtly feel the depth of an artistic word, memorizing and reproducing favorite episodes, children penetrate into the inner world of the characters, evaluate their personal qualities, moral appearance, which contributes to enriching the horizons of preschoolers, their personal experience, expanding the possibility of cognition of the surrounding world and socialization in it. It is concluded that purposeful and systematic acquaintance of children with works of fiction is a perfect base for organizing educational interaction with them both in the conditions of an educational institution and among family.

This thesis investigates the relationship between artwork and antisemitism in Ezra Pound’s work and thought, arguing that Pound’s anti-Jewish prejudice was inextricably entwined with his views on artwork and the socially conscious artist. My first chapter opens by examining Pound’s Vorticist writings, focusing on how his method of Luminous Details reworked typological and historiographic traditions positioning the figure of the Jew as the anti-type of Christ and the artist. I also foreground the representation of national categories and typographical articulations of racial types in Pound’s early poetry. My second chapter turns to Pound’s ideas of visual culture as filmic, Fascistic and ultimately antisemitic, taking his draft propaganda film script Le Fiamme Nere (1932) as an important insight into this development. By bringing the draft into dialogue with the poet’s Rome Radio broadcasts from 1941-1945, the extent of Pound’s commitment to naming the Jews as his cultural enemies across different propagandistic projects emerges. In my third chapter I explore the interplay between the ambiguous emergence of American identity and Pound’s antisemitism in the Middle Cantos, including Pound’s concerns over printed banknotes, Stamp Scrip and even volumes of his own poetry. Next comes a chapter on Canto 35, the most important insight into the complex Poundian relationship between Jewish artists and the production of ‘ahrt-voik[s]’ in The Cantos (35/174). The fifth chapter of my thesis details Pound’s relationship with the Jewish sculptor Heinz Henghes, using material drawn from archival resources and accounts of their time together in Rapallo from 1934-1936 and discusses the impact on Pound’s poetry. I conclude my thesis by unpicking the triangulation between Henri Gaudier-Brzeska, Leo Frobenius and Italian Fascism following the Italian Race Laws of 1938 as expressed in Guide to Kulchur (1938) and the official Italian Fascist propaganda magazine La Difesa Della Razza. For Pound, the Jewish artist ultimately emerges as the ‘Mosaic negative’ of Mussolini-as-artifex, the enemy of culture and clear definitions.

This paper reports the results of neuromarketing research for artworks. It was conducted among young people, students of non-art specialties, for nine different widely known art pieces with the help of eyetracking and emotional scanning equipment.The aim of the experiment is to determine (1) whether viewers concentrate more on the representational art compared to abstracts art, (2) whether any correlation between the viewing time and the evoked emotions exists, and (3) whether there is any difference between the monitored emotions and those people articulate (in other words, to what extend artwork viewers tell the truth).The result demonstrates a slightly higher preference in looking at the representational paintings. But we do not notice any correlation between the subjective liking of the painting and the time spent looking at it. An essential difference is recorded for the emotions fixed technically and those reported by the viewers.The paper also suggests several implications for gallery marketing. JEL сlassification: M31, Z11, Нейромаркетинг як інструмент дослідження поведінки споживачів активно використовується для аналізу споживчої реакції на візуальні маркетингові стимули (друковану та відеорекламу, зображення на упаковці тощо). Це дослідження спрямоване на з’ясування можливостей інструментів нейро-маркетингу в ситуації, коли зображення є не допоміжним елементом комплексу маркетингу, а основним товаром. Ай-трекінг і відстеження емоцій використано для аналізу поведінки споживачів під час перегляду ними творів візуального мистецтва. На підставі отриманих результатів сформульовано маркетингові рекомендації для менеджерів та власників картинних галерей.У роботі подано результати спостереження за 31 учасником – непрофесійними поціновувачами творів мистецтва, яким було представлено 9 маловідомих картин визнаних світом художників. Характер уваги, тривалість погляду, тип та рівень емоцій учасників експерименту фіксували за допомогою ай-трекінгових окулярів.Мета дослідження – визначити, (1) чи довше глядачі дивляться на реалістичні картини порівняно з абстрактними, (2) чи пов’язаний час перегляду картини з емоціями, які вона викликає, і (3) чи є різниця між емоціями, зафіксованими технічними засобами, і тими, які озвучують самі глядачі. Результати вказують на незначний рівень преференцій (тривалості перегляду) реалістичних сюжетів. Нам не вдалося зафіксувати кореляцію між часом перегляду та рівнем уподобань глядачів. Водночас виявлено суттєву різницю між характером та рівнем емоцій, зафіксованих апаратно та висловлених респондентами під час інтерв’ю.На основі отриманих результатів зроблено висновок про те, що інструменти нейромаркетингу можуть забезпечити галереям об’єктивні та неупереджені дані для обґрунтованого ухвалення управлінських рішень. Утім, потрібні подальші дослідження для визначення економічної доцільності нейромаркетингових досліджень на ринку творів мистецтва. JEL сlassification: M31, Z11

Neurocutaneous syndromes are a group of genetic disorders affecting the skin, the central and peripheral nervous system, and the eye with congenital abnormalities and/or tumors. Manifestations may also involve the heart, vessels, lungs, kidneys, endocrine glands and bones. When people with these disorders are portrayed in works of art, physicians have speculated on possible diagnoses. In particular, many figures have been labeled as possibly having a neurocutaneous disorder, sometimes distorting the popular conception of these diseases. We review numerous documents, drawings, prints, lithographs, xylographs, and portraits which span the ages from antiquity to the era of the pioneers behind the eponyms, depicting a large spectrum of neurocutaneous disorders.

The conservation of artworks is playing an increasingly important role in society today. Non-destructive investigation can provide the potential to identify deterioration as early as possible. In this research, transmission mid-wave infrared (MWIR) vision and air-coupled ultrasound (ACU) were used to investigate two paintings on canvas made from different textile support materials. An X-ray technique was used in the work for validation. It was found that the transmission mode can probe deeper and the differences in absorption due to the different textile support materials can be distinguished. This paper summarises advantages of the transmission inspection mode and compares and analyses images from the two techniques from a physical point of view.

This paper aims to show that any account of how artworks lie must acknowledge (I) artworks can lie at different levels of their content: what I call ‘surface’ and ‘deep’, and (II) for an artwork to lie at a given level, a norm of truthful communication such as Grice’s Maxim of Quality must apply to it. A corollary is that it’s harder than you might think for artworks to lie: Quality is not automatically ‘switched on’ during our engagement with art. However, I show how a work’s curation and genre-membership can ‘switch on’ Quality, allowing artworks to lie at different levels.

В статье проводится анализ изобразительных средств и стиля произведений ингушского писателя М.-С. Плиева. Отмечается, что изобразительными средствами у него выступают различные эпитеты, метафоры, сравнения, фразеологизмы, пословицы, проклятия, народные песни и другие виды тропов, которые способствуют ассоциативно-образному и эмоционально-интеллектуальному осмыслению окружающего мира в художественном произведении. Такие изобразительные средства служат для выполнения художественно-стилистических функций. Существенными считаются и поэтические символы, имеющие национальную окраску. В отдельных художественных текстах некоторых авторов используются не только национально-культурные символы, которые уже являются стандартными, но и индивидуально-авторские, основанные на образном его восприятии и свойствах эмоционально-интеллектуального понимания реального мира. Язык мастера ингушского художественного слова обладает множеством языковых особенностей, в которых все значимо и заслуживает особого внимания. В его произведениях часто употребляются меткие народные изречения, высказывания, фразеологизмы, различные сравнения, пословицы и поговорки, проклятия и благопожелания. Все эти яркие и меткие выражения ингушской народной речи делают художественные произведения М.-С. Плиева запоминающимися., The article analyzes the visual means and style of the works of the Ingush writer M.-S. Pliev. It is noted that his visual means are various epithets, metaphors, comparisons, phraseological units, proverbs, curses, folk songs and other types of tropes that contribute to the associative-figurative and emotional-intellectual understanding of the surrounding world in a work of art. Such visual means serve to perform artistic and stylistic functions. Poetic symbols that have a national coloring are also considered essential. In some artistic texts of some authors, not only national and cultural symbols are used, which are already standard, but also individual author’s ones based on his imaginative perception and the properties of an emotional and intellectual understanding of the real world. The language of the master of the Ingush artistic word M-S. Pliev has many linguistic features in which everything is significant and deserves special attention. In his works, apt folk sayings, sayings, phraseological units, various comparisons, proverbs and sayings, curses and well-wishes are often used. All these bright and apt expressions of the Ingush folk speech make the artistic works of M.-S. Pliev memorable.

Ushbu maqolada she���riy tarjima va uning murakkab talablari tahlil qilingan. She���riy tarjimaning boshqa turdagi (sinxron, ilmiy-texnikaviy, siyosiy-publisistik, axborot-analitik materiallar tarjimasi) xususan, badiiy tarjimadan o���zaro farqli jihati tadqiq qilingan. Eng muhimi she���riy tarjimada o���ta muhim bo���lgan ijodkorlik va so���z qo���llash mahorati ushbu moqalaning tahlil markazini tashkil etadi. Bundan tashqari ohangdorlik va ruhiyatni saqlay olish masalasiga katta e���tibor qaratilgan.o���, This article analyzes the translation of poetry and its complex requirements. The poetic translation have been studied among other types (simultaneous, scientifictechnical, political-publicist, information-analytical materials translation), in particular, differences between literary translation. Most importantly, creativity and wording, which are very important in poetic translation, are the focus of this article. There is also a strong emphasis on the preservation of melody and spirit.

Artykuł dotyczy kolekcji i kolekcjonowania jako motywu literackiego. Badania nad tą problematyką powinny zostać podejmowane przez literaturoznawców, gdyż kolekcje wspomagają charakterystykę postaci literackich i nadają bohaterom tożsamość. Utworem, który pod tym kątem poddano analizie jest Pieniądz. Powieść z obcego życia Andrzeja Struga z 1914 roku. Zinterpretowano, opisane w nim trzy różne kolekcje i trzech różnych kolekcjonerów: muzeum kamieni i ekscentrycznych Lyttonów, drogocenną kolekcję biżuterii Lucy Slazenger oraz kolekcję dzieł sztuki Osiasa Murwaya, amatora starożytności. The article deals with collections and collecting as a literary theme. Research on this issue should be undertaken by literary scholars, as collections support the features of literary characters and give protagonists their identity. The work analysed from this angle is Money by Andrzej Strug from 1914. It interprets and describes three different collections and three different collectors: the eccentric Lyttons and their museum of stones, Lucy Slazenger’s precious jewellery collection and the art collection of Osias Murway, an enthusiast of antiquities.

Ruang MES 56 is a contemporary photography-based Art Institute in Yogyakarta. This independent art institution has been widely known through its various worksin international arts events. The resulting works are not merely personal, butappear to be conceptually charged and based on preproduction information. Thisarticle will discuss the discovery of ideas, excavations, and interpretations ofinformation made by artists of Ruang MES 56 in the creation of works. Morespecifically, this research will dig deeper into what kinds of information artistsare searching for in the creation, and how they influence the appearance of thework they produce. The research data will be obtained through interviews andstudies of documents owned by selected artists of Ruang MES 56 members. Theexpected result of this research is the discovery of the created patterns of creation, and can reveal the process of transforming the information that has been collected into the form artworks.

This paper celebrates Ron Eyerman’s contribution to the sociology of the arts. Through a discussion of selected publications, I highlight the key arguments and the themes running through this strand of his work to show how he both pointed beyond production perspectives and secured a central place for art and music in the strong program of cultural sociology. I also revisit his call for a meaningful sociology of the arts, not only to reflect on how this has influenced my own research agenda, but also to take stock of the current state of the field and gauge how much progress has been made in responding to his challenge to take meaning seriously.

This article is about works which is kept in the world`s libraries till today and their content, also poems` meaning of Bisoty Samarkandy who has lived and worked in the second half of fourteenth century and beginning of the fifteenth century. His poetry has attracted the attention of prominent literary scholars for many years. An in-depth study of the poet's work is one of the most important issues today.

The conservation of the works of art represent a topic of global interest. The development of effective tools based on advanced technology for analysing and monitoring their health-state is essential to assuring their preservation. In fact, detecting and preventing the formation of defective areas or assessing for an accurate pre-restoration analysis are the main objectives of non-destructive inspection. Active thermography is a well-known non-invasive imaging technique and reliable tool for providing a fast and low-cost analysis of a work of art. In this study we combine the potential of Principal Component Thermography and of Absolute Thermal Contrast to analyse thermal images acquired in-situ on a poplar panel painting representing an original artwork dating in the end of XVI century. We first optimized the thermal stimulation parameters in the laboratory using special phantom samples. These samples were specially made by reproducing in high fidelity the structural properties and materials of the artwork in order to perform effectively the preliminary tests. Then we moved the equipment in-situ by performing the non-destructive inspection directly on the real artwork. We have developed a specific experimental protocol that combines active thermography with two specific and appropriate image processing modalities that allowed us the effective detection of various types of defects in the painting layer. We report a complete analysis and deep discussion concerning the detection and characterization of the defects. Results show that our diagnostic protocol is a powerful tool in assessing the pre-restoration health-state and suitable for in situ analysis of wood artworks.

В статье рассматривается проблема формирования мотивации к чтению книг как необходимое условие интеллектуального и эмоционального и нравственного развития личности ученика, приобщения к классической литературе; анализируются причины снижения интереса к чтению у современных школьников; обосновываются ценностно-смысловой и диалогический подходы в преподавании литературы. Статья адресована учителям, студентам педагогических вузов и всем, кто интересуется данной проблемой, In the article considers the problem of the formation of motivation to read books as a prerequisite for the intellectual and emotional and moral development of the student's personality, introduction to classical literature; The reasons for the decline in interest in reading in modern schoolchildren are analyzed; values and dialogue approaches in the teaching of literature are substantiated. The article is addressed to teachers, students of pedagogical universities and all those who are interested in this problem

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This article aims to identify the basis of the communicability theory of Artwork which can be extracted from the writings of Edith Stein. After presenting empathy issue and the anthropological base which affects both the subjects and objects in the art world, alongside the possible difficulties with the transmission of said artistic message, this article delves into the implications of considering arts as an object and a subject of empathy and the communication system which can be established in the world of art. El presente artículo se propone identificar los fundamentos de la teoría de la comunicabilidad de la Obra de Arte que se puede extraer de los escritos de Edith Stein. Tras presentar el problema de la empatía y la base antropológica que afecta a los sujetos y objetos del mundo del arte, además de los posibles problemas en la transmisión de dicho mensaje artístico, se ahonda en las implicaciones de la consideración del arte como objeto y sujeto de empatía y el sistema comunicativo que se puede establecer en el mundo del arte.

This paper aims to show that any account of how artworks lie must acknowledge (I) artworks can lie at different levels of their content: what I call ‘surface’ and ‘deep’, and (II) for an artwork to lie at a given level, a norm of truthful communication such as Grice’s Maxim of Quality must apply to it. A corollary is that it’s harder than you might think for artworks to lie: Quality is not automatically ‘switched on’ during our engagement with art. However, I show how a work’s curation and genre-membership can ‘switch on’ Quality, allowing artworks to lie at different levels.

Photoacoustic (PA) imaging is a novel, rapidly expanding diagnostic technique, which has been predominately developed in the context of contemporary biomedical research studies. In this review, we demonstrate how PA technologies can break through the barriers of biomedicine to find innovative applications in cultural heritage (CH) diagnostics and laser cleaning monitoring. Having over three orders of magnitude higher transmission through strongly scattering media, compared to light in the visible and near infrared, PA signals offer substantially improved detection sensitivity, providing optical absorption contrast at high spatial resolution. This unique combination of features is employed for establishing novel diagnostic methodologies aiming to uncover well-hidden features and provide structural information in multi-layered CH objects such as paintings and documents. Finally, we demonstrate that the PA effect can be successfully utilized for the reliable monitoring of laser cleaning interventions on stonework, allowing for a safe and well-controlled cleaning procedure which will safeguard CH objects’ original surfaces. Simplicity of implementation, effectiveness and low-cost features provided by the developed diagnostic and monitoring systems, highlight the rich potential of emerging PA technologies in CH studies and offer exciting possibilities for future implementations.

Employing an economical and non-destructive method for identifying pigments utilized in artworks is a significant aspect for preserving their antiquity value. One of the non-destructive methods for this purpose is spectrophotometry, which is based on the selected absorption of light. Mathematical descriptive methods such as derivatives of the reflectance spectrum, the Kubelka-­Munk function and logarithm have been employed for the characterization of the peak features corresponding to the spectrophotometric data. In the present study, the mentioned mathematical descriptive methods were investigated with the aim to characterize the constituents of an Iranian artwork but were not efficient for the samples. Therefore, inverse tangent derivative equation was developed on spectral data for the first time, providing considerable details in the profile of reflectance curves. In the next part, to have a simpler and more practical method it was suggested to use filters made up of pure pigments. By using these filters and placing them on the samples, imaging was done. Then, images of samples with and without filter were evaluated and pure pigments were distinguished. The mentioned methods were also used to identify pigments in a modern Iranian painting specimen. The results confirmed these methods with reliable answers indicating that physical methods (alongside chemical methods) can also be effective in determining the types of pigments.

This paper investigates how new social ontologies emerge when individuals and social groups from around the world utilize technology to promote the use of religious, secular, and re-sacralized imagery in preparation for birth as a rite of passage. In particular, the paper looks at how these participants share religious and nonreligious imagery related to birth through websites, social media, multimedia exhibitions, and other formats, examining how the imagery is used to construct meaning around the topics of birth and ritual. This social ontology of birth shows how humans utilize technology to create new meaning related to the birthing body.

In this second work on the Holy Face of Manoppello, known also as the Veil, we have performed a spectral analysis of the transmitted image. Its thin linen threads are translucent, presumably because starched, allowing light to pass through them. As a result, the yellowish colour of the ancient linen and starch contribute substantially to the final hues of the Holy Face, especially when the Veil is lit from the backside with grazing light. Spectrophotometry measurements have allowed calculating how the fabric absorbs the various chromatic components. Through these quantitative evaluations, it has been possible to compensate the colours of the transmitted Holy Face image, by subtracting the contribution due to the yellowish coloration of the thin linen threads. Furthermore, the rotational spectrum of the image has been studied after digital restoration. The linear fit of the power spectrum in bi-logarithmic scale with a power law f P provided a slope parameter P = &minus, 3.49 &plusmn, 0.03 . This is a surprising value because it is typical of photographs of human faces, not of portraits of human faces painted by artists, which instead have statistical properties of fractal type, with values of slopes P = &minus, 2.0 .

Cet article propose une analyse philosophique des implications de l’implantation d’oeuvres d’art dans l’espace-temps urbain, par opposition à leur devenir au sein de l’espace muséal. En effet, le musée est un espace où nous plaçons des objets à l’abri de la corruption du temps. De ce point de vue, l’oeuvre d’art peut se définir comme un objet qui dure (Arendt, 1972). Notre hypothèse consiste donc à soutenir que les oeuvres d’art se définissent par une temporalité propre, ce qui, lorsqu’elles sont implantées dans l’espace public urbain, entraîne des modifications de sa temporalité et de ses usages. Après avoir déterminé la temporalité propre à l’oeuvre d’art, nous examinons dans quelle mesure l’implantation d’oeuvres d’art dans l’espace urbain modifie cet espace lui-même ainsi que l’expérience et les usages que nous en faisons. Enfin, nous nous demandons si le développement de l’art dans l’espace urbain n’occasionne pas un changement de paradigme, la notion d’accessibilité laissant place à celle de participation., This paper offers a philosophical analysis of the implantation of artworks in the urban space and time and its implications, as opposed to their evolution within the museum space. Indeed, the museum is a place where objects are protected from time passing induced wear. In this regard, an artwork can be defined as an object which lasts long (Arendt, 1972). Our hypothesis consists in considering artworks as defined by a temporality of their own, and that their implantation in urban space leads to modifications to such space’s temporality and uses. The paper starts by defining a temporality specific to artworks. Then it examines to which extent the urban space, our experience and uses of it are changed by the presence of artworks. Finally, it questions the existence of a paradigm shift – from accessibility to participation – induced by the presence of artwork in urban space.

Research has demonstrated that nature is beneficial for many aspects of one's health. This pilot study aimed to investigate whether viewing landscape artworks, as a form of representational nature, could improve psychological and physiological recovery from a laboratory stressor. A sample of 30 participants was randomized to one of two conditions: landscape and scrambled. After a laboratory stress task, participants in the landscape condition viewed a series of landscape paintings for 30 min; participants in the scrambled condition viewed digitally scrambled versions of these artworks as a control condition. Pupil size was measured while viewing the images using an eye tracker. Affect, drowsiness and fatigue, and the salivary stress biomarkers, cortisol, and alpha-amylase were measured at baseline, after the stressor, and after the artwork viewing period. After the viewing period, the scrambled condition had increased reports of low negative affect (which contains the variables of sleepy, dull, and sluggish) (p = 0.045, η p 2 = 0.12) and increased reports of drowsiness (p = 0.038, η p 2 = 0.12). Salivary cortisol levels decreased more rapidly while viewing the scrambled images compared to the landscape artworks (p = 0.027, η p 2 = 0.62). Lastly, pupil size while viewing the landscape artworks was larger than when viewing a blank screen (p = 0.025, η p 2 = 0.33), an effect not seen in the scrambled condition. This pilot study suggests that viewing landscape artworks was more stimulating and reduced drowsiness after stress when compared to viewing scrambled images.

La novela feminista camerunesa es una novela de combate. Actúa como una forma de defensa que el escritor formula para postular relaciones de género más dignas. En esta novela, el demiurgo lucha por el advenimiento de un orden social más justo en cuyo centro todos los géneros son iguales y todos los sexos se deben respeto mutuo. La novela funciona en varias direcciones: restaurar la reputación de las mujeres en términos de derechos y permitirles disponer de sus propios cuerpos como seres humanos respetados. Sin embargo, este objetivo de reapropiarse del cuerpo femenino choca con una cierta visión falocrática de las relaciones entre los géneros que tiene por objeto mantener a la mujer en el seno sexista. Por consiguiente, como modo de disminuir la violencia sexual, ¿no participa la agresión sexual en estrategias cuyo objetivo es sólo la cosificación de la mujer? Inspirándonos en el aparato conceptual sociocrítico formalizado por Pierre Barbéris y en el enfoque de género, respondemos a esta pregunta de investigación. El trabajo está organizado en tres partes. En la primera parte, examinamos las formas de violencia contra la mujer en el texto feminista que se examina. La segunda parte trata de la estilización de la violencia sexual. Cuestiona las formas lingüísticas que actúan en el texto literario, ya que la obra literaria es ante todo una obra de arte: más allá de la reproducción de los hechos observados, es la producción de lenguaje. La última parte se refiere al mensaje de los novelistas o su visión del mundo sobre el tema de la agresión sexual. El objetivo de esta parte es mostrar que la violación es una grave violación de los derechos de la mujer, un gran obstáculo para su empoderamiento y la afirmación de su identidad., Universidad Pablo de Olavide

This teacher researcher self-study examines self-reflexive learning using artwork and poetic devices in order to explore my identity as an English to speakers of other languages (ESOL) teacher. It demonstrates how I developed my creative process and how my artistic research practices deepened my findings. The data includes my reflective journal and analytic memos, my teacher journal, personal notes from students, and teacher/colleague free writes. I also used a mirror cinquain poem as an analytical tool to help clarify my self-assessment. Through the analysis of my process and products, I gained perspective about myself as a teacher, explored my lived teacher experiences, and discovered how the use of inventive methods allowed new knowledge to inform my understanding of my teacher self.

Аксиологический диапазон художественной литературы : сб. науч. статей [по материалам междунар. науч. конф.]. - Витебск : ВГУ имени П. М. Машерова, 2020. - С. 230-232. - Библиогр.: с. 232 (5 назв.)., В статье на примере произведений разноязычных авторов, рассматривается одна из тем, нашедших свое отражение в литературе от Библии до наших дней, - губительное воздействие денег на человеческую личность и человеческие отношения. = In the article on the example of the works of multilingual authors, one of the topics reflected in the literature from the Bible to the present day - the devastating impact of money on the human personality and human relations is considered.

Статья посвящена изучению монографической коллекции заслуженного художника России В.И. Сидорова в фондах музея. Его творчество представляет пример регионального изобразительного искусства. На материалах ретроспективной периодики, малоизвестных документальных и изобразительных материалов, многие из которых впервые вводятся в научный оборот, выявляется значение профессиональной деятельности художника в местном культурном процессе, актуализируются основные этапы его творческой деятельности., The article presents a study of the monographic collection of Vitaly Ilyich Sidorov, a front-line artist, the Honored Artist of Russia, in the Krasnodar Regional Art Museum funds. His works are a striking example of regional fine art. The author of the article, for the first time, analyzes the collection of Sidorov’s works in the museum funds, clarifies certain milestones in his creative career, considers the history of the works the museum received. In the study, the author uses previously unknown archival materials, as well as publications on the topic of Sidorov’s works by N. Kalugina, A. Strygin, Yu. Koryagina, Yu. Kutsenko, which made it possible to reconstruct the history of the creation of a number of Sidorov’s works in the context of the memoirs of contemporaries. A comprehensive study of all Sidorov’s works and an analysis of his works as part of the museum collection are required. To do this, the author aims to explore the peculiarities of Sidorov’s works, new archival materials, the artist’s professional contribution to the fine art of Kuban. The author introduces previously unpublished works into scientific discourse. Given the insufficient study of Sidorov’s creative biography, the author presents the main stages of his professional development in the overview. For the first time, Sidorov’s paintings and graphic works as part of the museum collection become the object of a specific research and serve as the main layer of cultural and art history analysis. The author employs the methodology of a systems approach, focused on the integrity and comprehensive consideration of the monographic museum collection. The practical significance of the study lies in the possibility of using its results in scientific, teaching, historical and promotional activities, in the practical work of art museums.

Documenting Diversity: How Anthropologists Record Human Life is an exhibit showcasing the history of anthropological fieldwork through rare archival and print materials from the National Anthropological Archives and the Smithsonian Libraries. The show traces the progress of technologies used to record human life, from paper to film to today’s digital media. The exhibit also grapples with the limits of such documents. Some ethnographic “data” resist documentation. It may be hard to record, or Indigenous community members may not choose to share it (especially with white anthropologists collecting it). But a rare document in the exhibition is an exquisite piece in the hand of master illustrator Silver Horn, or Haungooah. Silver Horn was a Kiowa artist distinguished for his prolific career and intricate drawing style.

The archive has become an important site for many contemporary artists who seek to re-narrate and re-energise marginalised histories. These practices often highlight the temporal and narrative potentials of archives by connecting different periods of time through the creation of new artworks. While some artists engage with archives to re-animate certain aspects of an existing archive, others respond more speculatively to create new works based on their personal connections with archival materials. Some artists extend this approach by fictionalising their own archives. This practice-led research project examines a range of artistic approaches to the archive, with a particular focus on how artists can creatively and generatively extend on the archives of other artists to re-energise marginalised stories and histories. This is a key approach in my own practice, which uses expanded photography and installation to create new artistic affinities and narratives that queer normative spatial and temporal borders. Through a theoretical framework that draws on queer theory, particularly the work of Sara Ahmed, Jack Halberstam, and Ann Cvetkovich, this thesis examines the narrative and artistic threads connecting my own practice with works by David Wojnarowicz, Every Ocean Hughes, and Rimbaud. It argues that a queer archive is not stagnant and suspended in time, but instead is alive with unbounded meaning and potential.

It is not surprising that in his Study of Thomas Hardy, which is an early statement of what were to be some of his central themes, Lawrence dwelt at length on the notion of excess. For this was the focus of a cardinal recognition. Lawrence was deeply affected by Hardy’s sense of the inhuman scale of life in which humanity ultimately has its being. As a late-Victorian agnostic, Hardy had come to see humanity itself as an excess, as an unnecessary life form thrown up by the evolutionary process...

Student researcher Jessica McDaniel explains why abandoned houses obtained a reputation for horror, as well as how this fear is not all that remains in what were once homes.

The article examines the totality of the writer's ideas based on spirituality, culture, traditions, values, the way of life of ordinary people in harmony with nature in the light of historical events. Interest in the moral, spiritual aspects of the process is the main feature in understanding the originality of the master of the word.

The article analyzes the relationship between agents of the art field and works created by them. The relevance of this topic is conditioned both by the growing social interest in the art and economic characteristics of this interest (rising prices and volume of art sales on the world market). The theoretical basis of the study is the theory of symbolic production fields created by P. Bourdieu, as well as criticism of this theory from the standpoint of sociological “returning to things” approach. Attempting to complement the agent-based approach of the theory of art field with the artwork consideration, we reveal the role of objects in the success of an agent in a symbolic game. The basis of our research consists of the fragmentary historical retrospective of art development, sales at different levels of the art market data and information obtained during author’s empirical research of the Ukrainian market of art. We postulate that works of art are involved in constructing the fields along with the agents, but do not operate in an independent or comparable to agents way, but perform delegated functions. Basing on the materiality of the artwork (if not physical, then legal and social), we consider the spatial and social relations, which the product being created is included in. These are the inclusion in the exhibition space, the storage and its terms, the spatial distribution in micro- and macro context, the movement and the sale. It is shown how physical and social space are interconnected: the transfer in one is immanent to the transfer in other. Analyzing the works in their relationship with the agents of the field of art, we find a parallelism of the trajectories of agents and objects that they have created, or which they are related to. Thus, the body of the artist’s works is understood as a socially marked out-object entity, structured by evolution of the author’s artistic style and at the same time structuringhis claims to change the position in the field. Looking at the social and individual significance of time and space, we prove the ability to treat a single work as the agent’s stake, which is a replica of his habitués at any given time. Agent’s success from this perspective is analyzed as determined by the winning of one or more of these stakes at the moment when they are relevant to the objective conditions, the definition of the field core value. In turn, for mediating agents the purchasing and possession of artworks is an attempt to both guess and provide to works a certain measure of symbolic power sufficient to win. Having considered the mentioned connections, we come to the conclusion that artworks are really involved in the structuring of art the field by obtaining capital and positions for agents with which they are associated. Since the examination of the objects through the research optics of fields theory helps to clarify the mechanism of symbolic game (struggle), we conclude that this approach may be useful in studying other fields of symbolic production, as well as to provide the basis for art field empirical studies.

ЯКОВЛЕВА Татьяна Анатольевна, кандидат культурологии, доцент кафедры «Теология, культура и искусство», Южно-Уральский государственный университет (г. Челябинск). E-mail: iakovlevata@susu.ru T. A. Yakovleva, iakovlevata@susu.ru South Ural State University, Chelyabinsk, Russian Federation В статье выявляется исследовательская проблематика незаконченного произведения искусства. Методологическим принципом является сопоставление философско-эстетического, литературоведческого и искусствоведческого подходов. Осуществляется анализ теоретических оснований определения понятий «незавершенного/незаконченного произведения». Сопоставляются такие смежные концепты как «нон-финито», «открытость», «целостность», «завершенность», «законченность», «воплощенность». Уделяется внимание роли техники в определении характеристик законченности произведения. Незаконченное произведение искусства рассматривается автором как «прерванное» и как визуальная экзистенциальная метафора, представляется как творческий ресурс. Формулируется идея истории искусства как истории не-ставшего. The article reveals the problems of the unfinished artworks. The methodological principle is the comparison of philosophical-aesthetic, literary and art criticism approaches. The author analyzes the theoretical basis for the definition of the concepts of “open/unfinished”, reviews the theoretical related definitions as “non-finito”, “openness”, “completeness”, “perfection”, “integrity”, “embodiment”. Attention is paid to the role of technology in determining the characteristics of completeness of an artwork. An unfinished artwork is regarded as “an interrupted”, as a visual existential metaphor and as a creative resource. The author formulates the idea of the history of art as the history of the non-become.

of Paper accepted for AVANCA | CINEMA 2019 International Conference Cinema - Art, Technology, Communication

La obra de Máximo Moreno constituye un aporte de gran relevancia para comprender y completar la escena artístico-cultural que se desarrolló en Sevilla en las décadas de los setenta y ochenta, en las que el costumbrismo y la tradición de la ciudad se fundía con la influencia de los nuevos movimientos y estilos propios del arte que se estaba desarrollando en ese momento fuera de nuestras fronteras y que cada vez tendría más presencia en el panorama nacional. Es por ello que, este estudio reúne por primera vez una aproximación a la vida y a la obra del artista, así como a su relación con el panorama sevillano durante aquellas décadas, con el fin de darles visibilidad, ponerlas en valor y establecer una base que permita profundizar en su estudio desde la disciplina de la historia del arte. Maximo Moreno's work is important and necessary to understand and complete the artistic- cultural scene that took place in Seville during the seventies and eighties, in which locals customs and tradition of the city merges with the influence of the news art ́s movements and styles that were currently developing outside from Spain’s borders and which would have a progressive increase of presence on the national scene. Due to this, this project brings together in a small synthesis, the life and work of the artist, as well as his relationship with the sevillian scene during those decades, in order to give them visibility, put them in value and establish a base that allows deepening the study of the artist’s persona and his work from the perspective of history of art. Universidad de Sevilla. Grado en Historia del Arte

The aim of this research is to determine the metaphors used by the teacher candidates on artworks produced in the field of painting and to examine the metaphorical perceptions of the teacher candidates. This research was conducted with 159 teacher candidates studying at the departments of Turkish Language Education, Science Teacher Education, Elementary Mathematics Education, English Education, Pre-school Education, Psychological Counseling and Guidance, Music Education, Mental Disability Education, Class Education, Social Studies Education, Computer and Instructional Technology Education and Art Education at the Faculty of Education, Dokuz Eylul University. In the research, in order to reveal the metaphors that the candidates used related to the artworks, an open-ended interview form was prepared for the works by Van Gogh, Kandinsky, Klimt and Picasso. In the interview form, teacher candidates were required to complete the sentence that “This painting is like… ;because ... “ for four art works. Teacher candidates’ views regarding artworks have been analyzed through the content analysis technique. At the end of the research, it was seen that art teacher candidates created 141 and the other teacher candidates created 345 valid metaphors in total; teacher candidates’ perceptions of Kandinsky’s work are negative and abstract and their perceptions of Van Gogh and Klimt’s works are positive.

This article discusses the trend of the last decade: using of neural networks in the art field. The value of using these technologies for solving the problems of generation and styling images is revealed, also for analyzing digital copies of the artifacts of culture. Two promising directions for future research of using a neural network technology in the field of art are offered. The possible results are outlined. В данной статье рассматривается тренд последнего десятилетия применения нейронных сетей в области искусства. Выявлена ценность использования указанных технологий для решения задач генерации и стилизации художественных изображений и анализа цифровых копий артефактов культуры. Предложено два перспективных направления дальнейших исследований применения технологий нейронных сетей в области искусства. Намечены возможные результаты.

The present study analyzes auditory phenomena from the point of view of hermeneutical phenomenology and shows their interconnectedness with the understanding of man, hearing and listening within the context of human life as the horizon of meaningful sonority and silence. The central questions to be answered in this study are these: What is experienced as sound and sonority? How does a human see himself in inclusion of his being from where he listens, understands, and speaks? The study explores the classical standpoints of Husserl’s phenomenology and other philosophical apprehensions which confirm that auditory phenomena is not to be apprehended solely as an isolated horizon but as being permeated by the visible, the perceptible, and the comprehensible.

В статье представлена методология формирования культурного ландшафта города в его ассоциативной части. Художественное произведение, обладая необходимой полнотой возможностей отражения культурного ландшафта, признано причиной выделения художественно-ассоциативного ландшафта как отдельного типа культурных ландшафтов. Музыкальность скульптуры города Барнаула представлена в качестве ландшафтообразующего элемента художественно-ассоциативного ландшафта города., The article presents the basic methodology for studying and shaping the cultural landscape of the city in terms of the associative landscape. The artistic work, possessing the necessary fullness of the possibilities to reflect the cultural landscape, is recognized as the reason for the selection of the artistic and associative landscape as a separate type of cultural landscapes. The author, on the example of the sculpture of the city of Barnaul, presents the model of the artistically-associative landscape of the city, the basis of which is the musicality of its landscape-forming elements.

Before I entered medical school, I knew little about what family doctors did. I had one as a child, but he soon retired and I remember very little of him. However, during my medical training several years later, I had the opportunity to work with many family doctors. I learned just how important a role they could play in patients’ lives, providing continuous care and support. The doctor-patient relationship is a unique one, one that inspired me as I now start a residency in Family Medicine. This connection is not only adapted to each patient’s health status, but also their personality and other needs. One aspect of this relationship that stood out to me was the reassurance and support that family doctors can provide, no matter what a patient presents with. In this artwork, I hoped to elicit how the physical exam not only gives us physicians information, can also reassure the patient in different ways.

Au cours du dernier quart du xxe siècle, la photographie a progressivement joui d’une légitimation culturelle et artistique au sein des institutions françaises. Le photoreportage profite également de ce processus afin d’apporter une réponse à la crise protéiforme qui touche son milieu. S’il n’est pas évident à l’origine qu’un musée intègre des photographies de reportage, l’ensemble des départements du Centre Georges-Pompidou a cherché à valoriser cette pratique en l’intégrant dans la programmation culturelle de l’établissement de 1977 à 1997 et ce, quel que soit son statut conféré (document, œuvre d’art, objet culturel). Le Centre Pompidou apparaît alors comme un lieu de consécration du photoreportage et des médias. À l’instar de l’art contemporain, l’institution a aussi été un lieu d’activation du reportage photographique notamment par le choix de défendre de jeunes artistes, de s’intéresser à des pays non occidentaux et par la commande de reportages. During the final quarter of the twentieth century, photography progressively enjoyed cultural and artistic legitimisation in French institutions. Photo-reportage also profited from this process in order to respond to the protean crisis affecting its milieu. While it was not clear at first for a museum to include reportage photography, all of the departments of the Centre Pompidou sought to increase the status of the practice by making it part of the establishment’s cultural programming from 1977 to 1997, whatever the status imparted (document, work of art, cultural object). The Centre Pompidou thus appears as a place for the consecration of photo-reportage and the media. As for contemporary art, the institution was a place that activated photo-reportage especially in the decision to defend young artists, to show an interest in non-Western countries, and the commissioning of reportages.

Richard Wagner began perceiving the world in terms of decay as early as the mid-1840s and especially during the 1848-49 revolution. He did not critique the contemporary world (and its accompanying reality) as someone who merely understood it in his own way. Wagner actually developed his own version of the world that was meant to become the referential framework for creating an entirely different reality in the future. The most exhaustive source concerning Wagner’s idea of the world and reality is his famous letter to August Rockel, from 25-26 January 1854. In it Wagner put together his earlier ref lections on reality into a relatively coherent and meaningful whole. He did it by the means of several different concepts: „the World as a whole“, „the actual world“, „reality of the world“/„the modern reality“. In this letter and elsewhere, he failed to elaborate his idea of the world, as well as to explain its relationship with „the modern reality“ that was undergoing change. Instead, he developed another idea: that of the artwork which was supposed to be a sort of mediator between „the actual world“ and „the world of the future“, as well as between their accompanying realities. Wagner’s version of the „actual world“ (as well as its appropriate reality) comprised two components: „the actual world“ itself and the artwork, which was already changing it. Such a work contained a description of the change, understood in terms of regeneration, and thus also a prediction of the way reality itself should change in the future, as well as the direction of the change.

Japanese Tea Ceremony represents harmony, respect, purity and tranquillity which we must embrace in order to achieve the main purpose of the tea ceremony. This event is unique as every process from the tea equipment preparation until the tea is drunk has a distinctive technique. Therefore the positive values are applied to the whole process of the ceremony without not only focusing on the tea as the end product which is essential to present a good value to perfect the ceremony in order to convey it to the guests. Statement of problem is in Malaysia, people value ceramic aesthetically but not the interpretation of it or the values they put in that made the artwork how it is. It is because the artist does not feel the importance of moral values to be the message of their artwork and mostly focuses on the artworks physical. The objective is to instil positive values in ceramic artwork and make it mean something. The values do not have to be labelled specifically for example for nature extinction, political or religious but so long that there are good values to be conversed to people. This is for it not to become just a beautiful artwork but also as a reminder of how important moral values are in the world today as it is being taken for granted each day. This study is based on observation of the ceremony itself. A case study from real life of Japanese culture derived through the comparison with stated in any publication. The summary of this approaches indicate a concept of an art hidden behind these ceremonies. The outcome is an artwork that can be a reminder for us in this grasping world on how important it is to preserve moral values which is the core to live a harmonious live. The Japanese tea ceremony gives a positive impact and teaches good characteristics that need to be instilled in everyone such as manners, beauty, simplicity, respect, appreciation, discipline, humbleness and kindness. The Japanese tea ceremony is a part of Japanese culture that has been kept for a long time and it's proven that the discipline came from this culture. These literature study then be applied as philosophical method in proposing an artwork based on cultural elements.