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This article explores some of the ways in which queer women living in country houses have used their economic privilege and class leverage for their own purposes, disrupting and reshaping country house living to make space for their own independent endeavours. It takes as its case study the life of Katharine Pleydell-Bouverie (1895–1985), an innovative woman potter in the early British studio ceramics movement who rejected aristocratic, familial and societal expectations of duty and lineage to self-fashion an identity as an artist. Pleydell-Bouverie created a separate household on her family estate of Coleshill where she prioritised pleasurable domesticity with her female partners alongside creative expression and productivity. This essay investigates Pleydell-Bouverie's use of the estate – both the conditions it afforded her and its ecological materiality – as a resource in her experimental artistic practice and in her alternative, non-heteronormative mode of living. [ABSTRACT FROM AUTHOR]

In art-historical terms, a self-portrait in assistenza refers to an artist having inserted their own likeness into a larger work. In Renaissance-era art, more than 90 examples have been identified, famously including Botticelli's Adoration of the Magi (c. 1478/1483). There, Botticelli glances out from the painting, making direct eye contact with the viewer, a feature that appears in other self-portraits of the type. In ancient Egypt, it was not commonly accepted that an artist would lay claim to it, especially when the work's scale imposed diversification of tasks to be performed or teamwork organized on a workshop basis. This article will present evidence discovered in the Chapel of Hatshepsut in her temple at Deir el-Bahari that can be interpreted as a self-portrait in assistenza and indicates that Djehuty, Overseer of the Treasury under Hatshepsut, took the lead role there. If this identification is valid, the room's decoration gains an additional layer of meaning and may be "read" in terms of Djehuty's message, comparable to Botticelli gazing out from his Adoration of the Magi. This ancient Egyptian case will illustrate how that artist-designer, in interweaving subtle indicators of his involvement in the work, expresses awareness both of his intellectual skills and of his pride in creation. [ABSTRACT FROM AUTHOR]

An artwork as a scientific unit in the study of the works of M.K. Tilke is an important source category when studying the material aspects of the Tatar heritage. The goal of the research is to study, systematize and introduce visual sources that reproduce the costume complex of the Tatars into scientific circulation. During the research the following tasks were solved: certain types of clothing reproduced in sketches were identified and described; graphic, written sources and surviving material heritage in museum collections were analyzed. The method of historical and ethnographic research was used. The conclusions: each of the artist’s artworks is ethnographically accurate, since the main goal was to reveal the uniqueness, significance and features of the costume complex. Participation in scientific expeditions, consistent study and comparison of graphic, written sources and preserved material heritage in museum collections revealed an accurate reproduction of the cut features. As a researcher, he tried to draw parallels with other peoples, those close in culture, or simply those in interaction with the Tatars. Turning to early historical and ethnographic sources, M. Tilke tried to identify the general and specific in the details of the Tatar women's and men's costume complex.

The article focuses on exploring creativity through the Thematic Apperception Test (TAT) by examining how different groups of artists, musicians with formal education, self-taught musicians, and visual artists generate stories. It aims to identify creativity attributes, capture differences in creativity and personality among these groups, and analyze genre variety as a potential indicator of creativity.

Copyright of Nauki o Wychowaniu. Studia Interdyscyplinarne is the property of Wydawnictwo Uniwersytetu Lodzkiego 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 aims to explore the evolution of the concept of the artist from the Renaissance to the modern era, focusing on how cultural, philosophical, and socio-economic factors have redefined the artist's role in Western society. The study examines the shift from viewing artists as artisans or servants of religion and power to recognizing them as autonomous creators embodying individualism, creativity, and genius. To achieve this, a multidisciplinary methodology was employed, integrating historical analysis, philosophical examination, and socio-cultural contextualization. The research draws on primary sources such as archival documents, artistic manifestos, and philosophical texts, alongside secondary sources including critical essays and historical analyses. The study's theoretical framework is grounded in concepts from art philosophy, socio-cultural theory, and intellectual history. The results highlight significant transformations in the artist's status and self-perception, emphasizing the impact of Enlightenment ideas on creativity and individualism, the influence of socioeconomic changes on artistic autonomy, and the evolving relationship between artists and their patrons. The article concludes that these shifts have had a profound and lasting impact on Western art philosophy and contemporary understandings of art and the artist. [ABSTRACT FROM AUTHOR]

Over the past decade there has been significant increase in artist residencies that provide opportunities for artists to travel internationally, in order to immerse themselves in a place and develop their artistic practice. This essay reflects on a case study of an artist residency program in Berlin, in which 10 international artists were invited to live in a refugee accommodation centre for a month each. Drawing on fieldwork notes, sketches, interviews with participants and the residency facilitators, I reflect on my unease and tensions that this form of creative mobility produces in relation to the visualities of migration. Questions around the role of mobility and exchange for artists, as well as applied mobilities researchers, pose ethical considerations about the privileges of movement and the visualities that such mobility produces. I suggest that the international artist residency model reinforces hierarchies and the injustices of cultural mobilities that are entwined and embedded in elite mobility practices. [ABSTRACT FROM AUTHOR]

Copyright of Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid 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.)

Thomas Ward explicates and defends a version of divine exemplarism called Containment Exemplarism to make good on the claim that God is a 'totally original artist'. According to Containment Exemplarism, (i) God ex nihilo creates according to divine ideas, (ii) divine ideas are about an aspect or part of God, and (iii) God has the ideas he has by knowing himself. Containment Exemplarism, we are told, secures the rationality and creativity of the divine creative act. I argue, first, that Ward's God is not a totally original artist since, on Containment Exemplarism, God does not act creatively in creating. Theistic Activism, the view that God makes up the ideas he has, can secure the creativity of the divine creative act. I argue, second, that Ward's argument against the rationality of God making stuff up fails. Thus, there is one version of divine exemplarism that satisfies key desiderata for divine creation. [ABSTRACT FROM AUTHOR]

Copyright of Anadolu University Journal of Art & Design / Sanat & Tasarım is the property of Anadolu 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 Electronic Turkish Studies is the property of Electronic Turkish Studies 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 Central Asian Journal of Art Studies is the property of Central Asian Journal of Art Studies 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.)

Combining Non-Invasive Brain Stimulation (NIBS) techniques with the recording of brain electrophysiological activity is an increasingly widespread approach in neuroscience. Particularly successful has been the simultaneous combination of Transcranial Magnetic Stimulation (TMS) and Electroencephalography (EEG). Unfortunately, the strong magnetic pulse required to effectively interact with brain activity inevitably induces artifacts in the concurrent EEG acquisition. Therefore, a careful but aggressive pre-processing is required to efficiently remove artifacts. Unfortunately, as already reported in the literature, different preprocessing approaches can introduce variability in the results. Here we aim at characterizing the three main TMS-EEG preprocessing pipelines currently available, namely ARTIST (Wu et al., 2018), TESA (Rogasch et al., 2017) and SOUND/SSP-SIR (Mutanen et al., 2018, 2016), providing an insight to researchers who need to choose between different approaches. Differently from previous works, we tested the pipelines using a synthetic TMS-EEG signal with a known ground-truth (the artifacts-free to-be-reconstructed signal). In this way, it was possible to assess the reliability of each pipeline precisely and quantitatively, providing a more robust reference for future research. In summary, we found that all pipelines performed well, but with differences in terms of the spatio-temporal precision of the ground-truth reconstruction. Crucially, the three pipelines impacted differently on the inter-trial variability, with ARTIST introducing inter-trial variability not already intrinsic to the ground-truth signal.

The article is focused on the creation of three plastic artists from the Republic of Moldova, who would have celebrated their centenary this year – Igor Vieru (1923-1988), Ilia Bogdesco (1923-2010), Mihail Petric (1923-2005). Their contribution is a significant one for national art, each one leaving a considerable mark in the field and genre they work. Several aspects and factors of the creative process of each individual artist are mentioned in the article. The thematic topics addressed are described, the components of the plastic language used in the process of creating a work of art, and the types of plastic and technical realization of the works are revealed. In their creation there is a coexistence of traditional and innovative elements in the plastic treatment of works of art. Depending on the historical period, the illustrative-realistic vision in painting (I. Vieru, M. Petric) is replaced by a decorative one, inspired by Romanian plastic folklore and the aesthetic concepts of modern European art (post-impressionism, Fauvism, etc.). In the creation of the graphic artist Ilie Bogdesco, who prefers a „classic” work technique, technical procedures and stylistic features not specific to contemporary national graphics are encountered. He practices calligraphy in book illustration and develops a new author’s technique, based on the text from the national medieval miniatures. Poets in soul and philosophers in thought, the celebrated artists remain trailblazers for the plastic arts in the Republic of Moldova, who have left a unique spiritual trail in their track record.

The purpose of the article is to reveal the specifics of the use of visual art tools in the creation of a modern screen product by the director-author in close collaboration with the cameraman and the artist. Research methodology. In the study of the problem, a complex methodological approach was applied, the method of analysis and synthesis, sociocultural determination, systematisation and generalisation, the method of comparison, the comparative method was used. The method of figurative and stylistic analysis and the analytical method in their combination was aimed at considering the art-historical aspect of the problem. The scientific novelty of the study is that the director's creativity is investigated in the context of the visual culture of the screen work and became the subject of a special study for the first time; the accuracy of the use of the system method in the study of the features of the director's plastic language of the screen work is substantiated; a figurative and stylistic analysis was carried out and the peculiarities of creating a frame by means of fine art were revealed. Conclusions. The materials presented in the study expand the knowledge about the specifics of the visual culture of the author's directorial screen language in various worldview models and enable their application in educational courses, the creation of educational and methodological literature on the theory and history of cinema and television, visual arts, directing. [ABSTRACT FROM AUTHOR]

The article is devoted to the study of the complex process of reinterpreting the role of the artist in the Modern Era, focusing on philosophical and art historical discourse. The aim of the research is to identify the influence of various socio-economic, political, and cultural factors on the changing place and status of the artist in society. A historical retrospective allows for tracing how perceptions of the artist and their role transformed in the context of changing worldview paradigms. The article also analyzes examples of specific artists and their activities, demonstrating the impact of these factors on their creative self-realization and societal recognition. It examines the dynamics of changes in the understanding and perception of the category «artist» within the philosophical and art historical discourse of the Modern Era. Attention is focused on the influence of socio-economic, political, and cultural factors that shaped the societal position and status of the artist during this period. The study considers how new ideas and changes in social structures led to the transformation of the artist’s role, their creative self-expression, and societal recognition. Utilizing a historical approach, the article demonstrates how these changes were reflected in the work of individual artists and their impact on the artistic environment as a whole. The main emphasis is on how philosophical and cultural changes of the Modern Era transformed the artist from a craftsman to a creative individual with their own voice and significance in shaping the cultural space. Methods Used: the dialectical method, which allowed for tracing the transformation of the essence of the artist phenomenon from internal developmental causes, analysis, synthesis, historicism, and objectivity, was realized through the application of special historical methods-comparative-historical, chronological, and retrospective approaches. These methodological tools provided a deep understanding of the processes of change in the perception and role of the artist across different historical periods, allowing for tracking the evolution of this phenomenon in the context of socio-economic, political, and cultural changes. Main Conclusions: 1. Change in the Social Status of the Artist - in the Modern Era, there was a shift from the artisanal perception of the artist to recognizing them as a creative individual with a unique worldview and significance in society. The artist came to be seen not only as a performer but also as an author capable of contributing individually to cultural development. 2. Influence of Socio-Economic and Political Factors - social and economic changes, such as the rise of the urban bourgeoisie and the development of market relations, promoted the artist’s autonomy. Political events, including revolutions and reforms, also played a significant role in shaping new views on art and artists. 3. Development of Art Institutions - new art institutions, such as academies and salons, emerged, creating platforms for the discussion and demonstration of creativity. This contributed to the professionalization of the artist and increased their influence in society. 4. Philosophical and Cultural Influences-the ideas of Humanism, the Enlightenment, and Romanticism significantly influenced the reinterpretation of the artist’s role. The philosophical currents of the Modern Era emphasized individuality, creativity, and freedom of expression, which were reflected in the artists’ works of that time. 5. Role of the Artist in Shaping Cultural Space-artists became active participants in cultural life, their creativity influencing societal moods and political events. They not only reflected but also shaped the cultural context of their era. 6. Interpretation of Artworks - the perception and interpretation of artworks changed. There was a departure from a purely functional approach towards considering art as an independent form of spiritual activity, possessing its own values and meanings. These conclusions allow for a better understanding of the complex process of transforming the role of the artist in society and highlight the importance of a philosophical and art historical approach for analyzing historical changes in art. [ABSTRACT FROM AUTHOR]

The aim of this article is to examine how elements of Taoist philosophy are incorporated into Tadeusz Miciński’s one-act drama The Ballad of the Seven Sleeping Brothers in China. Despite culturally syncretic references to Eastern philosophical systems, the author rarely referred to Chinese traditions of thought in his works. Published posthumously from manuscript, the ballad is therefore original in the context of Miciński’s oeuvre, both in terms of these references and its dramatic construction. It is interesting to note that the drama was written around 1910, the year when Polish translation of the Daodejing book was published under the title Tao czyli Droga niebios czyli Doktryna najwyższego rozumu: (Lao-Tse i jego nauka) [Tao or the Path of Heaven or the Doctrine of the Supreme Reason: (Lao Tzu and His Teachings)]. Taoism is one of the many aspects of the work that constitutes a reflection on the condition of the artist and evidence of Tadeusz Miciński’s exploration of Chinese religious-philosophical systems. [ABSTRACT FROM AUTHOR]

Copyright of Revue Internationale PME is the property of Institue de Recherche sur les PME 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.)

Introduction. The impact of street art on the state of space of the modern city is investigated. The object of the research is the modern urban environment considered in the context of the changing perception of street art by the urban population. The aspects of forming a favourable urban environment from the point of view of urban dweller’s stay in it are considered.Materials and methods. The methodological basis of the research is an analytical review of materials reflecting the interaction between art and the viewer in general, and street subculture and the urban dweller in particular. The focus of this paper is the concept of the functionality of the time-changing urban environment and its human perception. The research methodology is based on the analysis of the urban space of Ryazan through the prism of its perception by the urban population. The empirical base contains materials, including a statistical study of the opinion of the target audience of teachers, staff and students of the Ryazan Institute (branch) of the Moscow Polytechnic University regarding the existence of the social phenomenon of street art, its dynamics and impact on public opinion, an interview reflecting the view of the artist Alexander Sinitsyn on the state of the Street art movement in Ryazan and the authors’ own participation as artists in the social project “The City in Colours”, which took place in the summer of 2022. The concrete fence of the railway tracks in Moskovskaya street was the object of creativity.Results. The main factors influencing the perception of street art by the population are revealed, the data of statistical research of the state of public consciousness is carried out, reflecting aesthetic views, social activity, involvement in the processes of transformation of the urban environment, the dynamics of perception of the visual range contained in street art objects. The authors of the paper determined the average level of awareness of residents about the activities of street artists and various works of street art.Conclusions. Street art is a new direction that is undergoing transformation processes, adapting to new trends in the modern structure of society and people’s consciousness. Modern subculture of street art will be in demand on the territory of urban space, thanks to its informational, propaganda and aesthetic component.

Günümüzde sosyal medya yapıtın-sanatçının tanıtımı, sanatçının takipçileriyle ve dünyayla etkileşimi gibi konularda büyük rol oynamaktadır. Sanatçı sosyal medyayı yapıtın ve aynı zamanda kendisinin tanıtımını yapabildiği dijital bir portföy olarak kullanma, takipçiyle anlık etkileşime girme ve alanında yapılan çalışmaları kolaylıkla takip etme gibi açılardan çeşitli olanaklara sahiptir. Ancak sanatçının sosyal medyayla arasında geliştirdiği etkileşimin sanatsal yaratıcılığına olan etkileri bağlamında bazı sorular yanıt beklemektedir. Bu odak noktadan hareketle araştırma kapsamında sosyal medya kullanımının sanatsal yaratıcılığa olan etkileri, üretim sürecinde sosyal medyanın işlevleri, sanatçının ağ aracılığıyla kolaylıkla ulaşılabilir olmasının sonuçları, yapıta yönelik geri bildirimlerin üretim sürecine olan etkileri gibi hususlara ilişkin sanatçıların görüşlerinin ortaya konulması amaçlanmıştır. Dolayısıyla bu çalışma en temelde sanatçı perspektifinden sosyal medya kullanımının sanatsal yaratıcılığa olan etkilerini ortaya koymaya odaklanmaktadır. Bu bağlamda sanatın çeşitli alanlarından sosyal medyayı aktif olarak kullanan sekiz sanatçı ile derinlemesine görüşmeler gerçekleştirilmiştir. Yapılan görüşmeler sonucunda sanatçılar sosyal medya kullanımının sanatsal yaratıcılığa yönelik hem olumlu hem de olumsuz taraflarına dikkat çekmişler, temel meselenin daha çok sanatçının kendi iradesiyle ilgili olduğunu, sosyal medya ile geliştirilen ilişkinin dengeli bir biçimde olmasının gerekliliğini vurgulamışlardır.

В статье рассматривается творчество художника-эмальера Екатерины Николаевны Вдовкиной. Цель статьи — дать общую характеристику творческой деятельности художницы. В задачи исследования входит кратко представить творческий путь мастера, рассмотреть этапы ее обучения эмальерному искусству, а также проанализировать основные темы и мотивы произведений. Такого рода исследование актуально как для понимания произведений художника, так и для представления о развитии современного эмальерного искусства в России в целом. Е.Н. Вдовкина — художник-эмальер во втором поколении. Ее отец Вдовкин Николай Михайлович стоял у истоков возрождения эмальерного искусства в России в 1990-е годы. Он создал свою школу эмальерного искусства в Ставропольском крае и организовал ряд международных симпозиумов по этому направлению. Е.Н. Вдовкина прошла серьезную профессиональную подготовку, работе с горячей эмалью обучалась сначала в мастерской отца, затем в филиале Абрамцевского художественно-промышленного колледжа имени В.М. Васнецова и в Санкт-Петербургской государственной художественно-промышленной академии им. В.И. Мухиной (сейчас — имени А.Л. Штиглица). Художница создает как станковые работы в технике горячей эмали, так и иконы в технике горячего эмалирования для церквей и частных лиц, работает в экстерьерах и интерьерах храмовых комплексов.

The article concerns the problem of the way of plastic presentation under chromatic ratio in the painting from the years ’40–’50. In the first post-war decade, the national culture in the territory between the Dniester and the Prut is subject to severe ideological restrictions that had a strong impact on the artistic life. The new requirements change the artistic vision of plastic artists and focus national art on the aesthetics of „socialist realism”, with an emphasis on social and historical themes, rendered in a pronounced narrative-literary character. From a stylistic point of view, the painting of the post-war period reveals a way of plastic expression and a chromatic predilection with reminiscences of the academic tradition – plein-air-ist manner, „non-finite” technique, modeling of the form by the chiaroscuro method, the use of the type of tonal contrast, dark color of warm shades (ochre-brown, olive-gray, etc.). Among the artists who adapted to the new requirements of the time and who practiced a painting of „Peredivjnicist” influence, are M. Gamburd, D. Sevastianov, A. Baranovici and others. The socio-cultural transformations after 1956–1957 led to the „liberation” of the artistic vision from the conventionalism of „socialist realism”. According to the result of a chromogram made by the author, it appears that, in the national painting of the post-war period, dark colors with a warm hue prevail, with a ratio of about 43%.

In art-historical terms, a self-portrait in assistenza refers to an artist having inserted their own likeness into a larger work. In Renaissance-era art, more than 90 examples have been identified, famously including Botticelli’s Adoration of the Magi (c. 1478/1483). There, Botticelli glances out from the painting, making direct eye contact with the viewer, a feature that appears in other self-portraits of the type. In ancient Egypt, it was not commonly accepted that an artist would lay claim to it, especially when the work’s scale imposed diversification of tasks to be performed or teamwork organized on a workshop basis. This article will present evidence discovered in the Chapel of Hatshepsut in her temple at Deir el-Bahari that can be interpreted as a self-portrait in assistenza and indicates that Djehuty, Overseer of the Treasury under Hatshepsut, took the lead role there. If this identification is valid, the room’s decoration gains an additional layer of meaning and may be “read” in terms of Djehuty’s message, comparable to Botticelli gazing out from his Adoration of the Magi. This ancient Egyptian case will illustrate how that artist-designer, in interweaving subtle indicators of his involvement in the work, expresses awareness both of his intellectual skills and of his pride in creation.

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi 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 the article is to analyse the influence of accurate attribution on the process of preservation of historical portrait miniatures. Research methodology. The systemic method was applied to analyse portrait miniatures as a complex system that includes authorship, historical and cultural context, materials and techniques of creation. Using a systematic approach, the author of the article was able to identify the relationships between different aspects of the portrait miniature and their influence on their conservation strategies. A dialectical method was used to understand the dynamics between accurate attribution and miniature preservation processes. Within the dialectical analysis, different points of view regarding the meaning of attribution were considered, from the practical aspects of preservation to the philosophical questions of authorship and authenticity. The search method made it possible to collect a wide range of data on historical portrait miniatures, their authors, execution techniques and preservation history. The search method ensured the collection of the necessary information for the accurate attribution of miniatures and the study of their impact on conservation practices. Scientific novelty. The study highlights how an understanding of the historical and cultural context of miniatures, achieved through accurate attribution, can influence exhibition decisions, museum education programmes, and cultural heritage conservation strategies. Conclusions. Accurate attribution provides a scientifically sound basis for the selection of conservation and restoration methods, which is critical for the preservation of historic portrait miniatures according to their age, style, and materials used. Accurate attribution helps museum collections and exhibition design by enabling museum professionals to effectively classify and present miniatures in the context of their historical and cultural significance. The study emphasises the importance of ethical considerations in the attribution process, emphasising the need for a balanced approach between the use of modern technologies and the preservation of the authenticity of works. [ABSTRACT FROM AUTHOR]

Since February 24, 2022 Ukraine experiences the hardships of war and martial law due to the Russian aggression. Taking into account the complicated situation of the last two years, the need in art therapy measure for the majority of Ukrainians is on the rise: equally to those in the war zone, living in the occupied territories, displaced or those who lost their home and livelihood. According to the psychotherapists, all those living in the situation of war for more than six months becomes traumatized. In this sense, art therapy becomes a powerful tool that provides psychological and spiritual help and may lead to recovery. Two previous years proved the need of collaboration between the artists, cultural historians, and psychologists in order to correct with the means of art practices the consequences of the trauma experienced by the Ukrainian population. At present, creative events for the soldiers, as well for the families of the fallen heroes are a powerful and effective instrument of therapy. [ABSTRACT FROM AUTHOR]

Fifty years ago a famous poet Mustafa Zaidi receives his lover and muse Shahnaz Gul in his apartment in Karachi. The next day he is found dead; she is unconscious. Gul is charged with murder and her trial becomes a main distraction from an impending war. Tooba Masood and Saba Imtiaz tried to piece together a social history of seventies Pakistan in what is now the country's first true crime podcast. [ABSTRACT FROM AUTHOR]

This study reports a strategy to use sophisticated, realistic X-ray Computed Tomography (CT) simulations to reduce Missing Wedge (MW) and Region-of-Interest (RoI) artifacts in FBP (Filtered Back-Projection) reconstructions. A 3D model of the object is used to simulate the projections that include the missing information inside the MW and outside the RoI. Such information augments the experimental projections, thereby drastically improving the reconstruction results. An X-ray CT dataset of a selected object is modified to mimic various degrees of RoI and MW problems. The results are evaluated in comparison to a standard FBP reconstruction of the complete dataset. In all cases, the reconstruction quality is significantly improved. Small inclusions present in the scanned object are better localized and quantified. The proposed method has the potential to improve the results of any CT reconstruction algorithm. [ABSTRACT FROM AUTHOR]

The relationship and interaction between Islamic art and mysticism and Sufism are debated by researchers in the field over the past few years. While traditionalists see mystical and nativist meanings behind various forms and types of Islamic art and regard the relationship as something substantive and metaphysical, critics reject it due to inattention to historical facts, and some have even rejected any connection between Islamic art and mysticism. Due to the necessity of taking historical and social approaches to the matter, and the existence of various pieces of evidence indicating the relationship between Islamic art and its artists and Sufism, both viewpoints need revision. In this regard, the present study aimed to look at the causes and motives prompting Iranian artists to be interested in Sufism and create works related to mysticism by considering the artists as tangible components and the main sources of artistic creation (compared to merely metaphysical factors). Therefore, taking basic and qualitative research methodologies, the question was analyzed using historical, descriptive, and analytical methods, and the data were analyzed inductively. The findings showed that the inclination of some Iranian artists to mysticism and Sufism was evident in the crossing between Sharia and Tariqa, and the natural art-mysticism intersection, some Islamic clergymen’s sharia-based prohibitions against some art types, mystics’ tendency to cultivate art, the inspiration of mystical teachings in the creation of artworks, the influence of Sufi rulers and wealthy groups in creating artworks with mystical themes, and the effect of political and social turbulences like wars on making people turn to the followers of Tariqa were six major motives prompting Iranian artists to welcome mystical and Sufist ideas. [ABSTRACT FROM AUTHOR]

Copyright of EU-topías: A Journal on Interculturality, Communication & European Studies is the property of Universite de Geneve, Global Studies Intitute 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.)

Background: Artist persona has always remained a point of interest in research realm. Though there exist several works in this line, but they focused on associating creative psyche with psychopathology. Few studies tried exploring the genetic and biological factors, but only a handful work tried exploring underlying personality traits in creative process. Even those works also focused on understanding basic factors like extraversion, neuroticism, etc. Less work is in line with other facets such as ego functions, attachment, and narcissism. Those existing have shade an ambivalent light. The present study tried to bridge this gap by delving deeper into artist personality. Method and Materials: A sample of 120 professional artists, engaged in vocal music, dance, acting, and painting for at least three years, was selected from Kolkata, West Bengal. A control group of 120 non-artist professionals from selfemployment or MNC service sectors, with no formal training in any art form, was also included. Descriptive-comparative research design with multistage sampling was used, and all participants underwent a screening process. The General Health Questionnaire-12 (GHQ-12) was administered to rule out the mental health morbidity, with a cut-off score of 2. The main instruments used were the Ego Function Assessment Scale, Narcissistic Personality Inventory, and Attachment Style Questionnaire. Data analysis involved descriptive, multivariate, and correlational statistical methods. Results: Results revealed a significant role of ego flexibility, attachment patterns, and adaptive narcissism in artistic endeavours. Statistically significant differences were found between the artist and control groups, along with significant correlations among these three variables. These findings further elucidate the personality differences observed in the artist group. Conclusion: This work may find its applicability in training, development and nurturance of creativity and expressive art therapy. [ABSTRACT FROM AUTHOR]

The fantasized artist-as-origin began as the quintessential figure manifesting Enlightenment European concepts of individual autonomy and sovereign subjectivity—and thus of identity and meaning as these come to define and situate human expression as well as securing educated, middle-class, European white male hegemony in the Euro-American context. While we think of this conventional figure of the straight white male artist as old-fashioned, as having been relentlessly critiqued since the mid-twentieth century by artists, often from a feminist, queer, anti-racist, or decolonial perspective, this article asserts that the artistic author still drives much of the discourse as well as underlying the money and status attached to visual art today. Citing key works by a range of contemporary artists who have challenged these value systems—Cassils, rafa esparza, James Luna, Guillermo Gómez-Peña, and Susan Silton—this article foregrounds the critique of whiteness and masculinity and the interrogation of capitalism and neoliberalism necessary to interrogating these structures of value attached to artistic authorship. [ABSTRACT FROM AUTHOR]

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Photography is a technological medium that suffers continuous evolution. From its earliest developments to the various types of recent printing, the photographic image has become an avatar of the world. Since images are irreversibly intertwined with human activity, their usage becomes an increasingly frequent practice in the area of traditional creative techniques. This article discusses some examples of this usage in the context of contemporary painting studios in higher education. Photography is accessed by young students and the foray into photographic documentation is now an inevitable tool. The way students use it as an intermediary can be disruptive to their learning process, as long as the role of photography in painting practice is not fully comprehended. There are different ways of integrating photography into the practice of contemporary painting. The present article addresses conceptual aspects, presents several particular situations and launches some perspectives for better understanding these practices. Photography is a tool, not an end, but what happens when these terms juxtapose or are taken for granted? What kind of painting results out of the practical process “contaminated” by photography? However, if technology is properly and timely integrated in the practice of painting, one can no longer talk about a “contamination”, but rather about a conscious process able to generate quality painting. [ABSTRACT FROM AUTHOR]

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi 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 Central Asian Journal of Art Studies is the property of Central Asian Journal of Art Studies 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 Erciyes Akademi is the property of Erciyes Universitesi Sosyal Bilimler Dergisi 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.)

As a result of globalization and technology breakthroughs, digital painting has become more popular in Indonesia and has enabled artists to display their work online. Still, art theft is a serious problem, especially for artists who contribute to the art industry.The purpose of this research is to find out the technological developments, impact, and legal protection against theft of digital painting cases against perpetrators of the art industry in Indonesia. Research methods are qualitative research with descriptive and analytical approaches. The conclusion of this study is that the dynamics of the art industry in Indonesia are heavily influenced by technological advances and the style of digital painting. The impact of the theft of digital painting works of art on perpetrators of the art industry in Indonesia is loss of recognition, financial losses, and violations of the law. The Legal protection to deal with theft of digital painting artworks against perpetrators of the art industry in Indonesia can be done in a variety of ways namely by registering Copyright by submitting an application for copyright registration, protection of Digital Painting, updating of legislative regulations leading to more detailed explanations relating to the artwork of Digital painting, and Legal awareness and education.

Introduction. Today, Ukraine's economy is going through difficult times, which affects all areas of human activity. Show business, as a sphere of the cultural economy, is experiencing its own specific changes as a result. In this article, we analyse the state of the cultural industries since the beginning of the full-scale invasion, how it has affected personal branding, and what opportunities, threats and trends are inherent in Ukrainian show business today. Purpose and methods. The purpose of the article is to describe the formation specifics of artists' personal brands through the prism of the state and trends of modern show business in Ukraine, directions of its further development, opportunities and challenges. The methodological basis of the study is empirical, dialectical, and systemic approaches; we also use the methods of terminology, abstract and logical, synthesis, analysis, comparison, description, and generalisation. Results. The state and trends of modern Ukrainian show business are revealed. The specifics of personal brand management in today's realities are determined. The cause-and-effect relationships of the current state and trends of show business and their impact on personal branding during the war are analysed. Conclusions. Despite the difficult situation in the economy, new opportunities are opening up for show business along with general threats. The situation requires personal brands (artists) and their teams to work in a meaningful, strategically planned, and comprehensive manner, reviewing and often changing their habits and priorities. However, it should be understood that changes will not happen overnight. It will take years to rebuild Ukraine's cultural and artistic sector to at least pre-war levels, but it also opens up opportunities for modernisation and restructuring of the cultural industry.

The National Mandate Party (PAN) is the largest Islamic party that supports legislative candidates from among artists. Therefore, this study aims to explain PAN’s political motives in supporting legislative candidates from among artists for the 2024 elections. This research used a qualitative method with a case study approach. The findings explained that the political motives of material incentives and solidarity dominated PAN’s political recruitment. The material incentive motive is that artist candidates are used as a voter-getter strategy based on their financial strength and popularity. Then, the solidarity incentive political motive tends to be related to emotional and moral relationships. On the emotional side, PAN believes in supporting artist candidates again because it reflects their significant contribution to the party’s internal and parliamentary elections. Meanwhile, from the moral side, PAN has a specific goal to convey to the public that the party has an inclusive principle for all groups. It contradicts the Islamic religious identity attached to PAN, which is not specifically shown in nominating legislative candidates for the 2024 elections.

The article reconstructs the media image of China based on social network discussions about Chinese pop music. As a new medium, social networks reflect the mutual socio-cultural interest of Russia and China. The author describes the concept of national media image in media linguistics and intercultural communication using China News. EKD, a public page in the VKontakte social network. The methods of media linguistics, cultural linguistics, axiology, and linguistic analysis helped to reveal the main themes in the image of China: musical genres; musicians and singers, their popularity in China and abroad; authors' opinions; commentators' opinions; non-verbal means. The research also revealed linguistic and non-linguistic means that establish Chinese pop music as part of the musical and performing arts. China appears as a country with a well-developed modern musical and performing culture, popular both in China and abroad.

Статья посвящена развитию сибирского изобразительного искусства. Ее целью является анализ основных этапов его развития, а также сложных и разнородных сегодняшних тенденций в сибирском искусстве на примере ведущих выставок, проходивших в Сибири начиная с советского периода и до настоящего времени. В статье использовались исторический метод и ряд искусствоведческих методов. Охарактеризованы основные выставки, проходившие за указанный период; выявлены внешние и внутренние факторы, влияющие на развитие современного сибирского искусства. Отмечено, во-первых, что более чем шестидесятилетнее существование зональных и региональных выставок обогатило национальную культуру; во-вторых, и в современном искусстве, в картинах, графических произведениях, скульптуре и декоративном искусстве сохранились многие традиции, остались образы, отражающие универсальные культурные ценности. В-третьих, ведущими жанрами в искусстве Сибири остаются картина, портрет, пейзаж, натюрморт; в-четвертых, следует отметить возрождение православного иконописания, развитие прикладного искусства народов Сибири и позитивные тенденции в искусствоведении.

Photographs are now readily manipulated with Al in with ubiquitously available software, such as Photoshop. Although there is awareness that photographs can be seamlessly manipulated, photographs have such a strong historical link to evidencing a visual truth that they are still persuasive evidence. As visual perception usually dominates our senses we are vulnerable. This vulnerability is contextualised with theories from philosophers, psychologists, theorists of perception, architects and artists. After establishing the power of one of the latest ubiquitous image manipulation tools powered by AI, approaches to making us less vulnerable were articulated. One approach is to highlight photography and video as a constructed medium using highly visible collage techniques. Another is to highlight our non-visual senses contributions of our experiences, whether in the real world or artist’s installation. Case-studies of artists’ work that underpin these approaches are examined. Moholy-Nagy's theory of viewers' reactions to static photographs and moving image (film) and Sze's use of sound to ground a super abundance are examined. A phenomenological, embodied approach (Deleuze, Merleau-Ponty) to installations filled with fog created by Gormley and Eliasson is articulated. My methodology is autoethnographic. My practice provides an example of the problem and key findings from multiple approaches to ameliorating it.

Interview with Bryony Byrne about her work as a theatre-maker, comedian, and production and stage manager.

The article analyzes the features of the reception of Gogol's story "Portrait" (Edition of "Arabesques") in the fantasy story "Walter Eisenberg" by K. Aksakov. The main attention is paid to the assimilation and rethinking by K. Aksakov of the motive of the reviving portrait used in Gogol's story. The author proves that it is this motive that plays an exceptionally important role in the plot events in both Gogol's and Aksakov's stories, being the key in the narrative structure of "Portrait" and relevant in the semantic organization of "Walter Eisenberg". The specifics of the functioning of the motive of the reviving portrait in Gogol are considered. The reasons for the anomalous shift of the boundaries of the portrait, devoid of aesthetic autonomy, are explained. It is shown how the motive of a reviving portrait is transformed by K. Aksakov and how this transformation is connected with the personality and history of the hero. As a result of the analysis, the originality of the artistic interpretation of the indicated motive in Aksakov's story is revealed.