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With the arrival of Cultural Studies, many opportunities were opened to explore previously elitized spaces, such as academia, art, and culture itself. Minorities are now gaining visibility, producing, and consuming products that were previously restricted. With this, various minority classes, such as women, can show and develop their academic, artistic, and cultural works, crossing canonical borders and enabling discourses from the most varied social spheres. For this research, we focused our analysis on the theory of Intersemiotic Translation, in which one materiality converts into another, in our case, transposing the plastic arts to the text, using a study based on signs and their symbologies. The research verifies through signs, in the Works Ama Divers, of Adriana Varejão, themes related to women. [ABSTRACT FROM AUTHOR]

Copyright of Al-Academy is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Aim. In the article, a historical approach to the analysis of the visual image is made in the way in which the didactic studies applied to the plastic arts in Latin America have treated it, with emphasis on Cuba, Spain, Brazil and Argentina. Methods. The methods used are historical-logical and document analysis. Results. As a result, a historical-trend study of the analysis of the visual image is offered during the last three centuries, a period in which it is possible to speak of a thought and didactic related to the plastic arts in the region. Conclusion. The trend historical study and the criticism carried out demonstrate the need to base a method of analysis of the visual image that really responds to the purpose and objectives of Primary Education. Cognitive value. The analysis of the visual image is an essential component of the didactics of plastic education that requires a renewal based on the knowledge of its historical evolution and the contributions of science on art. [ABSTRACT FROM AUTHOR]

The European-based population growth, which has manifested itself since the 16th century, first initiates a wave of migration from the countryside to the city. It then creates a ready workforce. Production centers, which benefited from the ready workforce for the first time, return to steam energy as time progresses. This situation becomes widespread rapidly and paves the way for the industrial revolution. It is now the machine that is concerned. It is hoped that in the future, mechanization and the technologies that provide it will be transferred to everyday life and facilitate human life. However, only a century later, between 1914 and 1945, two major wars appear in the continental geography. There is a devastating effect on Western societies that leaves difficult traces to be erased behind, which is encountered by the occasion of these wars. Despite this, intellectual thought and criticism from the mid-20th century experience the brightest period after the Enlightenment. If we look at the criticism of art, they are ready objects discussed. References from the First World War years, texts based on contemporary philosophy and statements expressed loudly lead to a review of traditional attitudes. New perspectives are constantly derived. These perspectives, which center the forms of expression that contain traces from the inner worlds, absorb the stage, that is, performance. The artist is now a person who has awareness of the social agenda and can think interdisciplinary. His first concern when acting is originality. During the production stages, it tests both the audience's and their own limits. New Realism (Neorealism) is a movement that is referred to by names that adopt this situation and has a wide place in the history of art. Many artistic initiatives included in the article, are associated with this movement in its short life; Yves Klein, which fits performance and artwork (1928 - 1962). It is anthropometries and monochromes, which are repeated with a method specific to today's art criticism and evaluated from a close-time perspective.

The history of music knows multiple creations inspired by works of plastic art, exhibitions, tendencies initially asserted in painting. The musical texture reflects the shades of colors, undulations of the sculptures, ideas and conceptions. Similarly, in various paintings or sculptures we will discover images directly related to the field of music: subjects, musical instruments, personalities, etc. An exhibition of ceramics, which suggests through the theme and the ideas promoted, through the subtle links between the visual arts and music, whether of an academic or popular nature, creates musicological reflections and genuine associations, is the one recently presented (January 27 – February 26, 2023) by plastic artist Oleg Dobrovolschi with the title Between Heaven and Earth

Tekstil ürünlerinden biri olarak, denim kumaşının yapı olarak diğer kumaşlardan farklı olması nedeniyle, sanat malzemesi olarak olanaklarının araştırılarak, malzeme niteliğinde kullanıp yeni deneysel tasarımlar geliştirmek makalenin amacı olarak ele alınmıştır. Makale kapsamında yapılan uygulamalarda, denim kumaşı üzerinde geleneksel biçimlendirme teknikleri kullanılarak sanatçılara yaratıcılığını en üst düzeyde kullanabileceği olanakları araştırmak üzere deneyler yapılmıştır. Bu deneylerde kesme, yapıştırma, büzme, delme, bağlama, ağartma gibi klasik biçim ve renklendirme arayışları kullanılan yöntemler arasındadır. Deneylerde iki ana yöntem üzerinde çalışılmıştır. Birincisi yüzey oluşturma ve desenlendirme yöntemlerinden olan, batik tekniklerinden shibori ile birlikte renklendirme yerine ağartma tekniğidir. İkicisi ise denim kumaşı üzerine kil ve tutkal kullanılarak, bir yüzey üzerinde tek başına ya da destekleyici malzemeler ile birlikte dik durarak, boyut kazanma becerisinin sanatçıya sağlayacağı kazanımları araştırılmış ve her işlem, sonucu ile birlikte tespit edilip raporlanıştır. Bu deneyler sonucunda elde edilen verilerden yararlanılarak, denim kumaşı ana malzeme olacak şekilde, deneysel sanat eserleri oluşturulması hedeflenmiştir. Given that denim fabric is structurally distinct from other fabrics, the purpose of this article is to investigate its potential as an art material and to create new experimental designs by employing it. In the applications made within the purview of the article, experiments were conducted on denim fabric using traditional shaping techniques in order to determine the extent to which artists can exercise their creativity at the highest level. In these experiments, cutting, bonding, shrinking, punching, tying, bleaching, classical form and coloring searches were employed, along with others. In the experiments, two primary methods were investigated.The first technique is bleaching as opposed to coloring with shibori, one of the batik techniques, which is one of the surface formation and patterning techniques. Secondly, using clay and glue on denim fabric, the gains of the artists ability to acquire dimension by standing upright on a surface alone or with supporting materials were investigated, and each process and its result were determined and reported. The objective is to create experimental artworks with denim fabric as the primary material by utilizing the data obtained from these experiments.

The current research is concerned with studying (alienation in the plastic arts (ceramics as a model), as alienation was studied in terms of its effect on the artist, which in turn had its effect on the artistic work in formation, to be spatial discrepancies and displacements whose vocabulary is mixed with oppositions, disruption, and displacement, which create an apparent formal defect according to the contemporary perspective, with The development of technology and technique. Alienation appeared to be found in form in the plastic arts in general, and one of these arts is ceramics. Alienation in ceramics broke the traditional pattern and transcended the vocabulary of work associated with intellectual and conceptual transformations that resulted in the elements of alienation, including the art schools that brought about a shift in the artist’s concepts toward rejection. Everything that is familiar and traditional, as the artist sought to search for the idea that is different from the concept through the influence of the potter, which was achieved as a result of communication between art and society, which gives renewed concepts to the idea to achieve alienation according to the transformations of ceramic art, and the idea from which the potter started and developed treatments for reality through research was adopted. [ABSTRACT FROM AUTHOR]

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Copyright of Revista Estudios de Filosofía is the property of Universidad de Antioquia, Instituto de Filosofia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Itobiad: Journal of the Human & Social Science Researches / İnsan ve Toplum Bilimleri Araştırmaları Dergisi is the property of Itobiad: Journal of the Human & Social Science Researches and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Given that denim fabric is structurally distinct from other fabrics, the purpose of this article is to investigate its potential as an art material and to create new experimental designs by employing it. In the applications made within the purview of the article, experiments were conducted on denim fabric using traditional shaping techniques in order to determine the extent to which artists can exercise their creativity at the highest level. In these experiments, cutting, bonding, shrinking, punching, tying, bleaching, classical form and coloring searches were employed, along with others. In the experiments, two primary methods were investigated. The first technique is bleaching as opposed to coloring with shibori, one of the batik techniques, which is one of the surface formation and patterning techniques. Secondly, using clay and glue on denim fabric, the gains of the artists ability to acquire dimension by standing upright on a surface alone or with supporting materials were investigated, and each process and its result were determined and reported. The objective is to create experimental artworks with denim fabric as the primary material by utilizing the data obtained from these experiments. [ABSTRACT FROM AUTHOR]

This reflection article starts from an old debate on the real possibilities of knowing the sensible world from our senses. The reflection is made from examples, developed in the field of representation: art and architecture that show that many times the limitations of our ability to perceive objects can be transformed into creative resources by the talent of their authors. Some of these works are nods to these limitations and remind us that what we perceive, as we do, does not necessarily correspond to the real object that gives rise to the sensitive image. The examples analyzed here are openings to our conventional way of observing that reveal to us that reality can be very different from what we think we see. Artists and architects use these differences to amaze us and make us doubt the scope of our knowledge, formed from our sensations and our culture based on experience and reason. It is enough for this to break the hermeneutical system in which we are used to contrasting things so that these works teach us and provoke us a deep reflection.

This paper is an approach to some key concepts in Peter Handke's literary production. Throughout his work, Handke refers to and is supported by pictorial images and painting procedures in order to achieve a literary gaze. This article about the writer and his relation to plastic arts revolves around motifs such as landscape, time, transformation, things, the gaze and knowledge as well as some other concepts that provide information about his idea of art, namely topographic relations, absence, "dis-empowerment", the creator's ethical stance and others. Also, all of these topics are studied as a model to understand the development of plastic arts. As a methodology, this article is based on the readings of several of Handke's texts in parallel to the creation of some of our own plastic artwork. [ABSTRACT FROM AUTHOR]

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Copyright of Pensamiento, Palabra y Obra is the property of Universidad Pedaggica Nacional and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pensamiento, Palabra y Obra is the property of Universidad Pedaggica Nacional and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Nabo is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Yildiz Journal of Art & Design is the property of KARE Publishing and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This work proposes a comparative study between the fi eld of design and plastic arts. The study highlights the most important principles of plastic and semantic realization used in both fields, therefore following the exposure of common tangents in image creation. In this process, the most responsible and important issue addressed in both cases is identified - aesthetic formulation. The basic criteria in the harmonious realization of the artistic image are identified, taking into account some legalities and norms of aesthetic beauty. Thereby, it is found that, through the chain of aesthetic value, the issue of study and practical realization of design and plastic arts, is synchronized and associated in a common goal focused on the benefit of human sensory perception.

Analyzing the experimental animation films made by women in Spain over the last decade is the main reason for writing this article. Clarifying the idiosyncrasy of a series of productions created by female filmmakers working today, within the national scene, is the priority objective of an inevitably partial investigation. It establishes a first section that discusses the concept of "experimental animation" linked to the gender perspective and the identity issue. Describing three practical procedures associated with film experimentation, the work of six audiovisual directors with a consolidated career is analyzed. The creation processes that are hidden in his pieces are investigated, emphasizing their artistic value and the theoretical reflection that they trigger. [ABSTRACT FROM AUTHOR]

This article explores the social significance of two paintings of 19th century realistic art, one by the Mexican José María Velasco and the other by the Argentinian Ángel Della Valle. Both have the central ingredient of the social imaginary that the dominant groups wanted to establish: the railroad as a symbol of modernity and progress. [ABSTRACT FROM AUTHOR]

Copyright of Akademik Sanat is the property of Ankara Haci Bayram Veli University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of FLAMME is the property of Universite de Limoges and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article proposes to study the relationship between corporeality and micropolitics in the work of the Argentinean plastic artist Daniel Salvatierra, taking into account his disability. Based on an analysis of the works and information from successive exchanges with the artist, it analyzes the ways in which he shares and resignifies experiences centered on his body in a public way. The text emphasizes that creative processes constitute, before being a tool to show a given situation, a domain where new relations can be built. Finally, it concludes by arguing the importance of developing interpretative frameworks that draw on instability and reject fixed positions in order to understand the corporeality and politicization of the practices and feelings of people with disabilities. [ABSTRACT FROM AUTHOR]

This article investigates the medical and aesthetic role of breath in Katherine Mansfield's writing. Through an examination of Mansfield's correspondence and her short stories 'Prelude' (1918) and 'Bliss' (1918), in parallel with early twentieth-century medical and fitness literature, I argue that respiration foregrounds a kind of form-shifting expansiveness, softening the body's edges and opening it up to forces beyond rational control, while also drawing attention to the self's limitations in forging meaningful bonds with others. While Mansfield often experienced respiration as physically painful – a disrupting force that separated her from her surroundings – she also imbued breath with hopeful and life-affirming qualities that carved out an affective and creative space of unlimited possibilities. As such, in Mansfield's writings, breath links up with a sense both of loss of control and desperation, and a desire to live, feel, and create. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Nabo is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Synergies Europe is the property of GERFLINT (Groupe d'Etudes et de Recherches pour le Francais Langue Internationale) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Actas de Diseño is the property of Facultad de Diseno y Comunicacion, Fundacion Universidad de Palermo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Sanat ve Tasarim Dergisi is the property of Ankara Haci Bayram Veli University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The purpose of this study was to explore the actual usage of modern technology in teaching plastic arts as perceived by school art teachers in Oman. The sample consisted of 108 Omani female teachers. In order to answer the study questions, the researchers used the descriptive approach. A questionnaire was developed consisting of 26 items divided into three subscales. The results of the study showed a moderate usage of modern technology by art teachers. The results also revealed some main obstacles related to the use of modern technology including the overloaded teaching tasks handled by these teachers and the lack of classrooms equipped to use modern technology in school. The results also showed that there were no statistically significant differences in the teachers' usage of modern technology due to their academic qualification, years of experience, and the location of the school. [ABSTRACT FROM AUTHOR]

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Resumen El presente artículo explora la Arquitectura de las centrales nucleares de primera generación en España, construidas entre 1963 y 1972. Las empresas eléctricas seleccionan a arquitectos reconocidos, como Antonio Fernández Alba, Ignacio Álvarez Castelao y Antonio Bonet Castellana, para las centrales nucleares José Cabrera, Santa María de Garoña y Vandellòs. Las propuestas que desarrollan estos arquitectos modifican el trazado urbanístico e incorporan en sus propuestas disciplinas plásticas. Sin embargo, las empresas eléctricas rechazan estas propuestas por incompatibilidades con la seguridad y la técnica nuclear. En su lugar, los tres arquitectos realizan actuaciones de menor escala y presupuesto. Estas intervenciones son igualmente necesarias para establecer un diálogo entre la escala geográfica del entorno, la escala de la central y la escala humana del trabajador. Abstract This paper explores the Architecture of the first generation nuclear power plants in Spain, developed from 1963 to 1972. The spanish power companies selected to renowned architects such as Antonio Fernández Alba, Ignacio Álvarez Castelao and Antonio Bonet Castellana, for the José Cabrera, Santa María de Garoña and Vandellòs nuclear power plants. The proposals of this group of architects altered the urban structure and incorporate in their proposals plastic disciplines, as sculpture and paintings. Nevertheless, the power companies rejected these proposals because of incompatibilities with safety and nuclear technology. Instead, the three architects performed smaller and budget-scale strategies. These interventions are also required to establish a dialog between the geographic scale of the place, the scale of the nuclear power plant and the human scale of the worker.

Copyright of AmeSea International Journal is the property of Africa & Middle East Society for Education through Art and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Turkish Online Journal of Design, Art & Communication is the property of Turkish Online Journal of Design, Art & Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This work proposes a theoretical and practical study of environmental design. The aesthetic image in design is created by involving several special mechanisms that ensure the integrity of the design concept. The study highlights the most important principles of plastic and semantic realization, following the clear and concise presentation of the image. In this process, the most responsible and important issue addressed in design is identified - aesthetic formulation. A special role in the beautiful realization of the design project, is assumed by the coloristic effect, which manifests various actions in relation to human psychology. Following them, the basic criteria in the harmonious realization of the artistic image are identified, taking into account some legalities and norms of aesthetic beauty. The new practices of environmental design include the realization of ecological projects, smart house projects, open space projects and of course various stylistic achievements, of which the most requested today is the minimalist style. Overall, environmental design is an effective means of shaping and recreating the human environment. [ABSTRACT FROM AUTHOR]

Epitaph is a photographic work that is not easy to browse. Enigmatic images appear before our eyes without words to explain them. This article does not claim to provide a method on how Epitaph should be read; mystery is indeed part of Castellucci’s artistic project. It does provide, however, a few keys to understand how the Italian director develops his aesthetic from the spectator’s gaze, and how these images may potentially trigger a certain “dread of matter” within the spectators. [ABSTRACT FROM AUTHOR]

Jean-Pierre Léonardini joined L’Humanité, the daily newspaper of the French Communist Party, in 1964. His reputation quickly spread beyond the circle of readers of “l’Huma”, and his theater chronicle has spanned almost half a century. He tells us about his critical viewpoint, his approach to the stage, the relationship between immediate perception and memorial reconstruction, and style as a necessary tool to convey a certain idea of art. [ABSTRACT FROM AUTHOR]

Copyright of AmeSea International Journal is the property of Africa & Middle East Society for Education through Art and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Itobiad: Journal of the Human & Social Science Researches / İnsan ve Toplum Bilimleri Araştırmaları Dergisi is the property of Itobiad: Journal of the Human & Social Science Researches and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)