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The article presents a comparative analysis of three works created by Jewish fathers during the Holocaust: Yitzhak Katzenelson's poem “The Day of My Great Tragedy,” Bedřich Fritta's illustrated book for his son Tommy, and Rubin Ben Shem Feldschuh's children's book Between the Walls of the Ghetto. Using frameworks from micro-history, gender studies, and the history of emotions, this study investigates the evolving dynamics of father-child relationships, paternal identity, and the role of memorialization under the extreme conditions of the Holocaust. The works analyzed reveal consistent themes of emotional connection, education, and the fathers' struggles to maintain their roles as protectors and educators despite their inability to shield their children from the atrocities surrounding them. In Katzenelson's work, fatherhood is portrayed as a cornerstone of his identity, with his family's destruction leading to a personal and artistic transformation. Fritta's book embodies a father's hopes for his child's future after the war, using art as instruction and solace. Feldschuh's novel addresses the challenges of fatherhood in Ghetto, emphasizing the father's role as an educator and reflecting feelings of guilt and helplessness. In conclusion, the article posits that fatherhood during the Holocaust, as represented in these artistic works, transcended mere survival and protection, evolving into an act of emotional resilience and a way to preserve both personal and collective memory. [ABSTRACT FROM AUTHOR]

Orang Ulu's culture and traditions are adapting to modernization and finding new ways to thrive amidst changes that have influenced various aspects of their lives and material culture in Malaysia. This paper highlights the exciting potential for Orang Ulu's material culture to flourish through the development of motif design and presents the first Orang Ulu woven fabric in a 3D graphical view. Motif design is a beautiful way to preserve and promote the rich cultural identity of Orang Ulu through graphical expression. It also has the potential to boost the local economy by providing employment opportunities for skilled artisans. The paper highlights the importance of Orang Ulu motif design in their material culture, emphasizes the value of art as a tool for cultural expression and preservation, and outlines the development of these designs through graphic design and research. This study has adopted mixed-methods research to achieve its goal. The accomplished method for this study is categorized into three phases: research and inspiration in Orang Ulu's material culture market; 2D motif design conceptualization; and 3D artistic creation. This study recommends exploring the potential for incorporating Orang Ulu motifs in apparel products. The findings showcase the exciting potential for small and medium enterprises to preserve and promote the Orang Ulu cultural heritage and sustainability while providing economic benefits for the community. [ABSTRACT FROM AUTHOR]

The 2024 Olympic Games, held in Paris France, have sparked a global conversation about the intersection of art, religion, and freedom of expression. This paper explores the ethical implications of artistic expression, particularly when satire intersects with religious beliefs. It examines the role of satire as a tool for social commentary and potential for offense when it challenges sacred tenets. The study applies both fundamental and complementary data collection techniques. It evaluates its contemplations via the Interfaith Dialogue Theory. The generalizations and conclusions were drawn based on a qualitative analysis and synthesis of the gathered data using hermeneutical and content analysis approach. The observations indicate that the Olympic Games, traditionally celebrated for respecting diverse religious beliefs and fostering unity, faced significant criticism for its 2024 opening ceremony held in Paris. The event was condemned for its perceived wokeness and for allegedly disrespecting the Christian faith by associating Leonardo da Vinci's depiction of the Last Supper with transgender and homosexual themes. Despite the artistic director's defense that the intention was not to mock Christianity but to celebrate the Greek god Dionysus and highlight France's cultural heritage, many countries, religious groups particularly the Islamic and Christian faith, and public figures, found the ceremony to be a satire mocking the Christians Lord's Supper, and thus unacceptable and condemnable. As a result, a major sponsor of the Games withdrew its support; it also made France to be perceived with contempt and disdain in the global landscape. This study recommends comprehensive review processes; cultural sensitivity training; stakeholder engagement; clear guidelines and policies; public communication and transparency; alongside engagement with religious and cultural experts, to avert similar occurrences in subsequent Olympic Games. [ABSTRACT FROM AUTHOR]

The paper discusses the way Ghanaian visual artists Atta Kwami, Kane Kwei, and Saka Acquaye, used the art to express and narrate the cultural identity during the one decade of independence of Ghana (1957). Ghana was the first sub-Saharan African country which got independence from British colonialism. Besides, the nation wanted to promote the pan-Africanist dream of a new African people. But, the country faced a colonial and traditional dilemma. The research uses the archival method and visual discourse analysis as the main methodological instrument to examine the way artists used traditional symbols from African art, like Adinkra, to modern art by mixing plural personalities. The artworks they created were empowered themselves and allowed a collective story to be told of Ghanaian culture’s recovery, self-sufficiency, and the togetherness of the country. The study shows how these artists applied art as a significant catalyst in the process of nation-building and the creation of a new culture by getting rid of the misconceptions about the negative effects of colonialism on the cultural situation. Their art forms became semiotic kits for the beginning of cultural self-organization through the coherent state of Ghana. [ABSTRACT FROM AUTHOR]

Copyright of Apotheke is the property of Universidade do Estado de Santa Catarina 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 article adopts a combination of literature review and theoretical analysis to explore the relationship between formal aesthetics and emotional expression in product design from the perspective of Eastern and Western philosophy, as well as its narrative construction process. Product aesthetics is not only the result of visual expression, but also forms a multidimensional experience through the construction of form, the realization of function, and the transmission of emotions. The results indicate that the value of product aesthetics lies in its ability to establish a profound connection between form and emotion, creating works that are both visually appealing and touching. This article not only provides a theoretical framework for understanding the relationship between aesthetics and emotional expression in product design, but also provides practical guidance for designers to create products with more emotional value.

Background The curriculum for the courses given at the music specialization of the upper secondary school’s aesthetic program in Sweden includes the concept of artistic expression (AE). Being a criterion for assessment, no definition is provided by the National Agency of Education and there exists no consensus of how to interpret artistic expression among music teachers and music teacher students. Methods In order to explore how teachers understand, teach, and assess the concept and phenomenon of artistic expression, twelve qualitative interviews with music teachers were conducted and analyzed through an open coding process. Results The findings show that the concept of artistic expression is multifaceted and evasive. The results focus on two analytic threads: (i) situatedness and (ii) entanglement. (i) AE is situated due to context-specific parameters which underpins the meaning of the concept in this particular educational setting. (ii) Furthermore, the phenomenon of artistic expression is entangled (a) with the ongoing relationship between teacher and student, and (b) in a temporally unfolding and interactive musical event. The phenomenon of artistic expression as entangled is discussed, primarily through Hartmut Rosa’s concept of resonance, which brings into focus the intersubjective character of aesthetic experience. Doing so questions understandings of – and assessment procedures surrounding – artistic expression that relies on skill-based interpretations or reductions of entanglement. One example of such reduction is assessment of recordings of student performances which limits (a) the relational perspective (if assessed by a third person) or (b) the entanglement with the musical event. The perspective of resonance brings forth the teacher’s role during a student performance as characterized by self-efficacy and active listening, thus co-constitutive of artistic expression. Conclusions The article concludes with reflections on how the findings may contribute to the continuous discussion on how scientific grounding and proven experience may inform both the music education at upper secondary school and music teacher education. The concept of resonance provides a possibility to reframe conceptions of artistic competence in art education as being grounded in intersubjective and relational terms, rather than being reified as a set of measurable skills, an understanding which in turn risks replacing learning with criteria compliance.

This paper embarks on a profound journey into the depths of contemporary existence, traversing the multifaceted realms of art, literature, and music to unearth hidden truths and illuminate the intricacies of the human condition. At its core, it grapples with the stark dissonance between the outward appearances we present to the world and the inner struggles that often remain concealed beneath the surface. In an era marked by unprecedented connectivity and technological advancement, it becomes increasingly evident that despite our interconnectedness, many individuals grapple with profound feelings of isolation and disillusionment. Central to the discourse is an exploration of the pervasive prevalence of depression and existential angst in modern society. With the rapid pace of life and the relentless pursuit of material success, individuals often find themselves overwhelmed by a sense of and alienation. This paper delves into the underlying causes of such existential crises, probing the socio-cultural factors that contribute to the erosion of meaning and identity. However, amidst the prevailing darkness, there exists a beacon of hope – the indomitable resilience of the human spirit. Through an in-depth analysis of artistic expressions spanning across disciplines, from the haunting melodies of symphonies to the raw honesty of confessional poetry, this paper uncovers the transformative power of creativity in navigating the tumultuous terrain of existence. Art, in its myriad forms, serves as a mirror to the soul, offering solace and catharsis to those grappling with the complexities of human experience. Moreover, this paper seeks to contextualise the significance of art as a catalyst for social change and collective healing. Through case studies and critical analysis, it elucidates how artistic movements have historically served as catalysts for challenging oppressive systems and fostering empathy and solidarity among disparate communities. From the Harlem Renaissance to the feminist art movement, art has played a pivotal role in amplifying marginalised voices and advocating for justice and equality. In conclusion, this paper underscores the indispensable role of art, literature, and music as vehicles for introspection, empathy, and social transformation. By delving into the untold realities of modern existence and celebrating the resilience of the human spirit, it endeavours to inspire readers to engage more deeply with the profound insights and revelations that artistic expression has to offer. Ultimately, it is through the exploration of our shared humanity and the cultivation of empathy and understanding that we can forge a path towards a more compassionate and equitable world.

There is an emerging literature on research interviews to inform arts projects, but little on opera. This case study illustrates how research data informed an opera on Veteran recovery. Deidentified interviews were selected from 280 adults with a history of depression at 10-year follow-up to a randomized trial. Interviews were used to inform characters, storyline, and libretto. Ethical strategies included: changing details and merging stories and characters to create two Veterans and one spouse as leads, a storyline, and choral passages, with a focus on recovery from post-traumatic stress and homelessness. To engage a broad audience and address stigma, accessible composition techniques (melody, harmony) were used. We found that qualitative/mixed data can inform libretto and composition for an opera on Veteran recovery, through integrating art and health science.

Ancient Chinese murals have a splendid history in ancient times, experiencing thousands of years and countless dynasties. There have been artistic classics such as Dunhuang murals that are still applauded, and the murals of Goguryeo in Ji'an are also impressive. Through systematically combing and analyzing the lotus pattern in the Goguryeo murals in Ji'an, this paper reveals the artistic expression, style changes, and cultural factors behind the lotus pattern in different historical periods. It is found that the lotus pattern in the Goguryeo period not only showed an evolution trend from simplicity to complexity and from realism to abstraction in form but also reflected the profound transformation from nature worship to Buddhist belief to royal power symbolism in meaning. However, due to the age of the murals and the interference of natural climate and artificial damage, most of the murals have been damaged, falling off, cracks, and other pathological problems, which need to be protected urgently. Therefore, the combination of mural restoration and computer technology, the use of digital technology, vision and pattern recognition technology, the restoration of mural images for automated pattern recognition and analysis of mural paintings to assist in virtual restoration, not only for artificial restoration to provide an important and practical significance of the value of the reference, but also after the restoration of the mural paintings for the digitization of longterm preservation. [ABSTRACT FROM AUTHOR]

The originality of instrumental musical interpretation is a distinctive feature of each musician, influencing and reflecting their artistic style and worldview ideas. The study aims to determine the peculiarities of the influence of an individual teaching method on the development of instrumental musicians' performance skills. General theoretical analysis, comparison and observation techniques were used to achieve this goal. The final results were also based on the skill level coefficient, quality coefficient, and Mann-Whitney test calculations. The research process provided for developing individualized training for future instrumental musicians, focusing on developing interpretive and technical skills, artistic interpretation and improvisation. The practical significance of the work lies in the possibility of using the developed individual approaches to teaching musicians-instrumentalists, taking into account their capabilities. Prospects for further research can be to compare the effectiveness of an individual approach to teaching musicians-instrumentalists of primary school age and students. [ABSTRACT FROM AUTHOR]

This article stems from dialogues in the context of the 15th TQR conference themed "Qualitative Inquiry: Access Denied?" where a workshop on Poetry in the Teaching and Learning Qualitative Research has resulted in participants creating a poem conference organizer encouraged to share with the readers of TQR. In this article, I provide an overview of the background and rationale for the workshop, the activities leading to the participants writing the poem, and a reflection on how the participant-created poem connected with the conference theme and the potentials of utilizing artistic practices in teaching and learning qualitative inquiry. [ABSTRACT FROM AUTHOR]

Copyright of Collected Papers of the Law Faculty of the University of Rijeka / Zbornik Pravnog Fakulteta Sveučilišta u Rijeci is the property of Pravni fakultet Sveucilista u Rijeci 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 Revista Mexicana de Ciencias Politicas y Sociales is the property of Revista Mexicana de Ciencias Politicas y Sociales 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.)

By Jonee Kulman Brigham. Earth Systems Journey is foremost a form of participatory public art and secondly an environmental education curriculum model. Big Stone Lake Stories is one of over a dozen applications of the Earth Systems Journey model. Each application is adapted to the specific people, place, and program where it occurs, and with each iteration new insights emerge.

By Sigma Colón and Juli Clarkson. We explore how activists, artists, scholars, and rivers might co-create riverine engagements that interrupt the extractive capitalist, heteropatriarchal, and watershed-colonialist projects that have degraded rivers and continue to exacerbate the current ecological crisis.

By Laura Rockhold. Over recent years I have been on a journey, one that has deepened my understanding of, and engagement with, the Indigenous names of the place I call home: Minnesota. As a writer, poet, and visual artist, much of my work explores themes of interconnectedness between the personal, ecological, universal, and spiritual; I have found naming to be one way of praising, participating, and communing with others and nature and even myself, as so much of who we are is rooted in language and place.

This article explores the evolution of totemic symbolism in contemporary visual art and its profound link with religious concepts, particularly the image of God. It examines how artists reinterpret sacred themes through totems, reflecting both historical religious traditions and modern societal transformations. Through a review of totemic representations from ancient to contemporary artworks, this study illuminates the evolving portrayal of divine figures – from traditional religious icons to more personalised spiritual symbols. This evolution not only signifies changes in artistic expression but also suggests a deepening societal understanding of divinity. The analysis highlights the totem’s role as a mediator between the human and the divine, offering insights into the spiritual connections that transcend conventional religious frameworks. This research not only enriches the discourse on the relationship between art and religion but also underscores the dynamic interaction between cultural heritage and contemporary artistic exploration. Contribution: This study enriches the field of art history and religious studies by tracing the transformative representation of totems in art from ancient symbolism to modern reinterpretations. It underscores the totem’s role as a dynamic symbol in contemporary visual culture, facilitating deeper spiritual connections and dialogues across various cultural and religious landscapes. The findings of this study provide a nuanced understanding of how contemporary art mediates complex theological concepts, thus offering new perspectives on the intersection of art, religion and spirituality.

Breathe is a student-led literary and arts magazine whose goal is to provide a platform for creative expression about mental health issues and promote mental wellness among trainee healthcare professionals using student-submitted art and written pieces. Select pieces were published to improve readers’ understanding of and self-reflection on mental health. Common themes among the submissions include life outside of healthcare, imposter syndrome and coping with stress. This novel project had high satisfaction reported by 87.5% of surveyed readers. We advocate for improved mental health awareness and increased use of artistic expression as a coping strategy against stressors in healthcare education worldwide.

Copyright of Arab Journal for Quality Assurance in Higher Education is the property of University of Science & Technology 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.)

Knowledge about empathy is part of the study of artistic expressions, among which stand out works of personalities such as the Renaissance polymath Leonardo da Vinci, who was concerned with the connection between science and art during his creative research full of imagination and sensitivity to nature and human anatomy. The word empathy emerged among critics of German art as the term einfühlung, which was used within the aesthetic bias by philosophers and art historians. It emphasized the idea that a viewer perceiving an object could establish a link between it and themselves, projecting the object 'into themselves'. That is, the artwork could be experienced by the observer as if the viewer belonged predominantly to the object, in such a way that its characteristics could be actually felt through the expression of emotions, feelings and thoughts. This analysis of art appreciation required a great deal of knowledge and contemplation of nature, as understood by the German Romanticists, who had enormous admiration for da Vinci and his universal and systematic mind--a mind which reacted against formalisms, building his intellectual and sensory systems based on both his observation of nature and his own criteria. In particular, the art of painting for Leonardo was a way to demonstrate a mental discourse, just as the most important aspect of human portraits is to represent--in gestures and facial expressions--the states of mind and emotions. These are facts that German Romanticists tried to explain as the relationship between empathy and a work of art. The present manuscript aims to describe empathy from an artistic view, considering the roots of this word in German Romanticism; to comment about Leonardo da Vinci and the expression of art in the Renaissance; and, finally, to discuss the expression of his art in relation to empathy. [ABSTRACT FROM AUTHOR]

The nature of physical theater can facilitate understanding of the complex characteristics of embodied movement . Given also the scarcity of empirical studies in the area , the purpose of this qualitative, phenomenological, and temporal study was to thoroughly examine the embodied nature of physical theater (e.g. unity of body and mind) within different aspects of movement, such as performativity, communication with others, and emotional expression. Seven undergraduate students (Mage = 20.43 ± 1.28 years old) enrolled in a semester-long physical theater class at a major Southeastern US university. Based on the qualitative, phenomenological analysis, three physical theater themes emerged regarding improved embodied sensations over the class period: a) embodied artistic expression (e.g. body-mind unison; sense of flow; physical theater as a form of exercise), b) embodied emotions (e.g. body and mind in emotion, expressing emotions freely), and c) embodied interactions (e.g. body, mind, and emotion in communication; more attentive to body language; communicating with the audience). In the field of Performing Arts, viewing movement holistically as an end in itself can bring about senses of fulfillment, body awareness, improved consciousness, and increased value of physical culture (value of creative movement), and well-being. [ABSTRACT FROM AUTHOR]

1. Introduction: The idea of a subject-centeredness with a boundary separated from the body is that which was raised in the pre-modern era. Gradually, with studies of the results obtained from subject-centeredness developments, the physical understanding of the subject was developed in the thought of postmodern philosophers; it was a trend that followed the perception of the world through the body by shifting the movement from subjectivity to objectivity, the formation of physical subjects, and emphasis on sensory perceptions, so that the concepts of the surrounding world for man can only be defined in a living-body context. The French thinker, Levinas, (1906-1995) is one of the later philosophers who has a physical perception of the world. He is known as a "philosopher of ethics" and "another philosopher" who has studied philosophy from the point of view of moral aspects and in a physical context. "Responsibility towards others" is his most important intellectual statement. The most prominent characteristics of this theory are: 1. The moral thing is formed in the confrontation with the other and the relationship of the subject with the other. 2. Responsibility towards others is associated with responding to his needs and this happens in the form of a physical behavior. 3. Responsibility towards others requires self-care and body control for the benefit of others. 4. Responsibility towards others includes the matter of "saying"; that is, we are required to react to the "other" and respond to his call. Saadi's Golestan is one of the prominent moral texts that, in his era, considered the review of ethics and education as a necessity. In this book, the focus of Saadi's attention is the concern for the "other" and the need for appropriate response and responsibility towards him. Through a descriptive-analytical method, the present study deals with the adaptation of the theory of responsibility towards others. The selected data includes eight anecdotes from Golestan considering characteristics such as having a narrative plot, the presence of participants, physical and dramatic behaviors, the type of discourse and punishments. The compatibility of the theory with the field of discussion is shown as follows: The confrontation of two faces in stories, in a dramatic way 2. The clarity of the moral concept in the form of physical and action-based behaviors and reactions. 3. The appearance of responsibility towards others in the form of controlling physical behavior in the form of normalizing punishment. 4. The appearance of "saying" in the stories in the form of physical confrontation, dialogue between two characters, moral behavior and facing punishment. The findings show that paying attention to otherness in Golestan is important from three aspects:1. It has caused the formation of moral discourses whose purpose is to reject moral vices and highlight virtues for the benefit of others. 2. The need to pay attention to otherness leads to the acceptance of some limitations; therefore, the result of the issue of controlling the body and taking care of the self for the benefit of another has been the basis for the widespread discussion of moral discipline in Golestan 3. In Golestan, In addition to controlling the body, moral discourse and responsibility towards others are accompanied by controlling the language, that is, avoiding the command and the manner of moral books, employing the language of "speaking" as a living and dynamic process, and applying punishments through humor and criticism. In fact, with an artistic view, efforts have been made to reject moral vices and beautify virtues. 2. Methodology: This research, through a descriptive-analytical method, examines "responsibility towards others" and "control of the body" for the benefit of another in Saadi's Golestan. The theoretical framework of this research is to outline and discuss issues related to these ideas and their relationship with Golestan. Such issues as ethics and confrontation with others, responsibility towards others and the subject of the body, self-care and the subject of self-control (punishment), the responsibility towards the other and the matter of "saying" are disscussed. The selected data are eight anecdotes from Golestan regarding characteristics such as having a narrative plan, the presence of participants, physical and dramatic behaviors, type of discourse, formation of a contradictory situation and the control of the body based on light and heavy punishments. 3. Discussion: It seems that the moral discourse and related concepts communication have a significant reflection and they are presented in an ideological application in Golestan Saadi. Most of the professors know Saadi as a teacher of ethics. According to the Iranian-Islamic moral discourse, the morality that originates from Saadi's mentality is gentle, tolerant, dependent on conditions and situations, or according to Jan Ripka, it has a slippery truth. Considering the social and political conditions of his time, He pays attention to the review of ethics and education is a necessity. In His ideal society, we are responsible to others and our happiness depends on their health and morals. In fact, it depends on the actions of others that we reach happiness and excellence; In his thought, a person knows and understands himself with the help of others and becomes his own happiness. In fact, his desire is realized by looking at the "other". "Other" is not an obstacle, but it is also a mirror that makes you realize your flaws and our peace and security depends on his peace and security. Philosophy of him is that all humans have a body that their pain or happiness is dependent on each other and happiness are dependent and taking care on another. This research tries to reread Saadi's moral discourse from the perspective of Levinas and answers the following question: 1. How is responsibility towards others and self-care represented in Golestan Saadi? 2. What is the relationship between self-care and responsibility towards others in Golestan Saadi? 3. What is the discourse reflection of responsibility towards 4. Conclusion: Saadia's Golestan is one of the prominent texts in the field of ethics, in which attention to otherness is expressed in the application of a dialogue-oriented process with an indirect expression. Attention to others in Golestan has the following characteristics: 1. It has caused the formation of moral discourse and concepts related to it, such as hypocrisy, restraint, contentment, miserliness, bullying, education or silence, ignorance, extravagance, etc. 2. Paying attention to others in Golestan requires the application of restrictions and control of the body, so that a huge amount of dos and don'ts in the form of moral discipline finds meaning in the form of self-care. Efforts towards humane correction along with punitive techniques are part of this discipline and control of the body 3. Saadi knew that the issue of responsibility towards others has a spiritual domain and its explicit statement in the form of a mere norm or code of ethics is not very effective; therefore, he represented it with an artistic language in the form of the following characteristics: a. the confrontation of two contradictory characters, one representing a desirable moral concept and the other an undesirable one. b. physical behaviors; that is, an immoral vice such as "hypocrisy", which is a kind of dualization of behavior, is made concrete and conceptualized through theatrical aspects. c. The process of "telling" with features such as physical encounter, character dialogues, theatrical behavior, encountering an incident and punishment, has created a dynamic and lively context. d. Standardized light and heavy punishments have helped to reject the behavior. Therefore, in Saadi's Golestan, every moral concept of the body is made tangible and is represented for the audience in an experimental and dramatic way. In this way, the narrative structure of each story is processed in two situations. The first stage is showing the physical behavior of the subject or the other, and the second position of the subject is facing an incident, which eventually returns to the state of balance with punishment. [ABSTRACT FROM AUTHOR]

This article investigates the integration of Variational Autoencoders (VAEs) and Particle Swarm Optimization (PSO) in the realm of generative art and interactive digital installations. The study focuses on how these advanced algorithms can enhance artistic expression and interactivity, providing novel approaches for generating and optimizing art. Key innovations include the application of VAEs to create diverse and complex art forms, coupled with PSO to fine-tune these generative processes. The research demonstrates that VAEs significantly improve the aesthetic quality and variety of generated artworks, achieving an average aesthetic score of 8.3 out of 10. Integrating PSO further optimizes these results, enhancing the quality of outputs with a final score of 9.0. The study also reveals that this combination improves user engagement and satisfaction, with interactive installations utilizing VAE + PSO achieving a satisfaction score of 9.0, compared to 7.0 for traditional methods. The findings highlight the transformative impact of these algorithms on art generation, showing that while computational resources and time are higher, the artistic and interactive benefits are substantial. This research underscores the potential of combining deep learning and optimization techniques to push the boundaries of digital creativity and offers new perspectives for artists and designers. The article concludes that the synergy of VAEs and PSO represents a significant advancement in generative art and interactive installations, opening new avenues for future exploration and development in the field.

Breathe is a student-led literary and arts magazine whose goal is to provide a platform for creative expression about mental health issues and promote mental wellness among trainee healthcare professionals using student-submitted art and written pieces. Select pieces were published to improve readers' understanding of and self-reflection on mental health. Common themes among the submissions include life outside of healthcare, imposter syndrome and coping with stress. This novel project had high satisfaction reported by 87.5% of surveyed readers. We advocate for improved mental health awareness and increased use of artistic expression as a coping strategy against stressors in healthcare education worldwide. [ABSTRACT FROM AUTHOR]

Knowledge about empathy is part of the study of artistic expressions, among which stand out works of personalities such as the Renaissance polymath Leonardo da Vinci, who was concerned with the connection between science and art during his creative research full of imagination and sensitivity to nature and human anatomy. The word empathy emerged among critics of German art as the term einfühlung, which was used within the aesthetic bias by philosophers and art historians. It emphasized the idea that a viewer perceiving an object could establish a link between it and themselves, projecting the object ‘into themselves’. That is, the artwork could be experienced by the observer as if the viewer belonged predominantly to the object, in such a way that its characteristics could be actually felt through the expression of emotions, feelings and thoughts. This analysis of art appreciation required a great deal of knowledge and contemplation of nature, as understood by the German Romanticists, who had enormous admiration for da Vinci and his universal and systematic mind—a mind which reacted against formalisms, building his intellectual and sensory systems based on both his observation of nature and his own criteria. In particular, the art of painting for Leonardo was a way to demonstrate a mental discourse, just as the most important aspect of human portraits is to represent—in gestures and facial expressions—the states of mind and emotions. These are facts that German Romanticists tried to explain as the relationship between empathy and a work of art. The present manuscript aims to describe empathy from an artistic view, considering the roots of this word in German Romanticism; to comment about Leonardo da Vinci and the expression of art in the Renaissance; and, finally, to discuss the expression of his art in relation to empathy.

We are three people who draw on research and practice to create arts-based learning, engagement materials, and interventions with and for diverse audiences. We purposefully integrate and apply different artistic methods in non-artistic disciplines, such as ecology and environmental conservation, physics, climate science, and human health. We came to know each other and work together through a four-year project that was awarded to the lead author and focused on rivers in a fragmented world. Our project had local and global foci on rivers, and many of the activities, including those shared in this article, were designed with and for people in the United Kingdom but with a view that the ideas could be adapted and applied in other contexts.

Sculptural art is the result of human mental activity, representing the materialization of human cognition. Its creation throughout history serves as a profound record of the evolving human mind and the characteristics of its time. In the field of cognitive science, Professor Cai Shushan classifies human cognition into five levels, including neural cognition, psychological cognition, linguistic cognition, thinking cognition, and cultural cognition. Based on the theory of five levels of human cognitive science, this article changes the conventional chronological approach, by exploring the relationship between the development of sculpture art and human consciousness, redraws the development sequence of traditional Chinese sculpture art, and analyzes the development form of sculpture art at different levels. The results reveal the importance for sculptors to improve their cultural awareness, which will guide sculpture art creation and sculpture education. [ABSTRACT FROM AUTHOR]

Copyright of Dilemas Contemporáneos: Educación, Política y Valores is the property of Dilemas Contemporaneos: Educacion, Politica y Valores 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 Apotheke is the property of Universidade do Estado de Santa Catarina 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.)

We study its expression in sculpture modeling by excavating traditional cultural imagery in sculpture art. In this paper, 20 students with design-related backgrounds were selected as subjects to view sculpture images for cultural imagery evaluation, and imagery selection, response duration, and eye-movement data were collected using Yulin Grottoes statue sculptures as eye-movement experiment samples. The collected data were then used to investigate various imagery expression methods and anticipate the traditional cultural imagery appearing in the sculptures using the DE-GWO model. With a mean square error of 0.275 for the typical user sample and the results of the DE-GWO analysis showing a p-value range of 0.446 to 0.05, with no significant differences, the degree of fit and predictive power between the predicted and actual values of the test set was generally good for subjects with relevant backgrounds. The presentation of sculpture art language under the multicultural viewpoint explores the expressive form of traditional cultural images, which has positive relevance to the development of sculpture art.

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 Pixo: Revista de Arquitetura Cidade e Contemporaneidade is the property of Pixo Revista de Arquitetura Cidade e Contemporaneidade 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 paper discusses the development and specifics of artistic expression in deaf and hard-of-hearing preschool children. We analyzed the significance of the stages of artistic development and the therapeutic effect of artistic expression. A drawing made by a deaf or hard-of-hearing child provides the opportunity to assess their cognitive, social, emotional, and physical development, the development of perception, a sense of beauty, and creativity. Through expressive and aesthetic development, children expand their knowledge and skills in nonverbal, visual, auditory, sensory, and verbal experiences. The artistic expression of deaf and hard-of-hearing children does not lag behind that of a hearing child. Visual representations of children with hearing impairment are much more realistic than those of hearing children. Visual perception of deaf and hard-of-hearing children contains many details related to physiognomy, movement, facial expression, body posture, and color. Children use art to communicate with themselves and the environment. In deaf and hard-of-hearing preschool children, it is necessary to develop all functions of nonverbal and verbal communication through artistic expression.

Copyright of Knowledge: International Journal is the property of Institute for Knowledge Management 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 art of Pakistan is under constant evolution. This research aims to study the changing perceptions of art in Pakistan, where the idea behind the artwork supersedes the act of creation. The article intends to investigate the definition of art with respect to the found object art, also known as ready-made art. It is a revolutionary form of artistic expression, which challenges the conventional practice of creativity by presenting everyday objects assembled within a gallery or museum. The pioneer of found object art Marcel Duchamp, a Modern Western artist, defines art as an idea, rather than the process of making. Building upon Duchamp’s legacy, this article examines the paradigm shift in Pakistani art from artmaking to art-assembling. The found object art by contemporary Pakistani artists, Huma Mulji, Adeela Suleman, Ehsan ul Haq, and Mohsin Shafi, depicts how the identity and connotation of these objects transform according to the spatial context, provoking diverse responses from the viewers. This qualitative research presents an analytical study of found object art by Duchamp and aforementioned Pakistani artists. The images of artworks, collected from museum visit, books, and online sources, help examine the innovative approach of these artists, which stimulates viewer’s curiosity, prompting them to question the very essence of art. The research demonstrates the significance of found objects in expanding the boundaries of creative expression, art definition, and viewer’s experience, besides broadening the perception of art in Pakistan. [ABSTRACT FROM AUTHOR]

Over the course of seven years during ten events, the author explored real-time interactive audiovisual projections, using ad hoc and portable projections and audio systems. This was done in the specific location of Cockatoo Island in the waters of a part of Sydney Harbour, Australia. The island offers a unique combination of the remnants of a shipyard industrial precinct, other buildings, and increasingly restored natural environment. The project explored real-time audiovisual responses through projected overlays reminiscing the rich history and past events, interactively resonating with the current landscape and built environment. This included the maritime industrial history, as well as other historical layers such as convict barracks, school, and the significance of the location for Australia's original inhabitants before colonisation by the British started in 1788. But most prominently, the recent use of the island for large scale art projects (such as the Outpost street art festival in 2011, and over a decade of use as part of the Sydney Biennale of Art, and the use of the island for film sets). This was a rich source of image material collected by the author and used to extend and reflect on current realities. By using the projections, overlaying and extending the present reality with historical data in the form of sounds and video, dialogues were facilitated and a conflation of past and present explored. The main activity were the VideoWalks, where the author, using a custom built portable audiovisual projection system and a bank of audiovisual material was able to re-place sound and video of previous events in the present context, in some instances whilst delivering a performative lecture on the way. The explorations are part of the author's Traces project, exploring traces and remnants of past events and how these can inform design approaches. The project over the years also developed an element of recursion, by using footage of an earlier projection into the current, the footage of which was then used in the next event, and so on—up to five layers of extended reality. [ABSTRACT FROM AUTHOR]

This article will discuss how a decolonial multidisciplinary approach leverages Indigenous design elements to articulate and convey the intricate principles of quantum mechanics, exploring the rich intersection of quantum mechanics and abstract animated imagery. In doing so, conventional perceptions of reality are challenged and reimagined. We posit that the confluence of these diverse disciplines facilitates a novel and profound understanding of the universe, interpreting symbolically through an artistic lens secrets that suggest the metaphysical. [ABSTRACT FROM AUTHOR]

Copyright of Writing / Xiezuo is the property of Writing Magazine Agency, Wuhan 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.)

Integrating Internet of Things (IoT) technologies in art design has created new possibilities for artists to create immersive and interactive experiences. However, data collection, analysis, and utilization in IoT art installations raise significant security and privacy concerns. Additionally, incorporating differential privacy techniques in IoT art installations poses optimization challenges. This paper explores optimizing differential privacy budgets based on deep learning in IoT art installations. By leveraging deep learning models, privacy budgets can be dynamically allocated to preserve individual privacy while maintaining the aesthetic integrity of the artwork. In light of this, a deep learning-based differential privacy budget optimization strategy for IoT art installations is suggested. This method adaptively distributes various budgets by the iterative change law of parameters. A regularization term is provided to limit the disturbance term to avoid the issue of excessive noise. This stops the neural network from overfitting and also assists in learning the model's salient characteristics. The capacity of the model to generalize is effectively improved by the suggested strategy, according to experiments. The accuracy difference between the model trained with noise and the model trained with original data is less than 0.5% as the number of iterations increases. Therefore, the proposed method can protect the user's privacy, effectively ensure the model's availability, and achieve the balance between privacy and availability. This accuracy ensures that the installation functions as intended and delivers the desired aesthetic impact, enabling artists to convey their artistic message effectively.

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 Journal of the College Of Basic Education 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.)

For the first time the article substantiates the informational understanding of culture on the basis of a systematic interdisciplinary approach and takes into account the information content as such and cultural content in the dialectical unity of information flows, including hostile, with further proposals for such information understanding. in the national security of Ukraine and democracies. The connection of relations in the sphere of culture, on the one hand, and in information, on the other hand, at the theoretical level, in normative regulation and in practical activity is established. Theoretically, based on the principle of evolutionism, it should be assumed that the information exchange, genetically determined, between individuals of the animal world occurs in the pre-human period. In the process of evolution and anthropogenesis, the result of cultural work is the creation, processing, assimilation, dissemination and transmission of information that has a non-biological, non-genetic nature. The objectivity of the relationship between relations in the field of culture, on the one hand, and relations in the field of information, on the other, creates appropriate relations at the level of administrative and legal regulation of these relations. This unity of administrative and legal regulation makes it possible to determine, by means of the same or similar principles, the legality of restrictions or the absence of grounds for such restrictions and on the basis of the principles of the 1950 European Convention. For the first time, from the point of view of the requirements of the European Court of Human Rights, the legality of restrictions on the introduction into the Ukrainian information space of information and cultural product of the Russian Federation as an aggressor waging an information war against Ukraine was analyzed and substantiated.