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Outstanding packaging design can improve the attractiveness of products and thus increase their competitiveness in the market. This article incorporated traditional papercutting into packaging design and conducted a case analysis of the designed packaging scheme. In the analysis process, the Analytic Hierarchy Process (AHP) was applied to construct the evaluation structure, and a Convolutional Neural Network (CNN) was used to conduct preliminary evaluations of the design scheme. Further analysis was then carried out based on the direction indicated by the preliminary evaluation. The results suggested that the CNN algorithm had better evaluation performance compared to the back-propagation neural network and support vector machine algorithms. The comparison between the CNN evaluation results and the manual evaluation results further confirmed the evaluation performance of the CNN algorithm. The integration of papercutting elements in the packaging design effectively enhanced the visibility and attractiveness of the packaging. [ABSTRACT FROM AUTHOR]

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This article seeks to shed light on the transposition of traditional crafts related to the popular religion of the Azores into the secular context of art in the works of Catarina Branco, taking two of the artist's exhibitions – Fez-se Luz, 2012, and Alminhas, 2013 – as case studies. The research first shows how this transposition leads to the cross-fertilization of the religious and artistic domains, imbuing art with greater spirituality and introducing reflections concerning contemporary issues, such as emigration and the position of women into the context of religion. Second, I discuss how the contingent nature of craft in art is used as a disruptive element that liberates the imagination, thought and feelings, dismantling hierarchies between the manual and the intellectual, the masculine and the feminine, as well as those between religion, art and craft, through embodied gesture. Religion is here understood in its wider sense as a form of mediation of the transcendent (Meyer 2009). I argue that these works can be seen as a political gesture, which highlights the past of women who lived in anonymity, simultaneously preserving and renewing traditional crafts that are dying out while also deconstructing the false dichotomy between the manual and the intellectual or spiritual. The act of papercutting gives physical form to the experiences of Azorean women, while at the same time addressing questions relevant to the human condition, including migration and the eternal search for transcendence. Through its inevitable polysemy, this act reveals meanings that have been hidden by habit, allowing the viewer to rediscover them. [ABSTRACT FROM AUTHOR]

COVID-19 (2019-) appears to have accelerated the transition of movable books from ubiquitous multimodal learning tools into artifacts and artworks, exhibited in museums and galleries. In their place, children are embracing interactive digital books. Whether they offer the same pedological value as their material counterparts remains a point of contention amongst early childhood educators. Both movable books and computers, evolved from volvelles. The devices, constructed using cut paper, emerged in Europe during the thirteenth century. Like papermaking, the technology had precedents in the orient. Their establishment in Europe coincided with The Black Plague (c.1346-1351). This article examines the inclusion or omission of papercuts in books, in relation to the broader application of papercutting within their respective communities. Primary and secondary sources were examined from Europe between the thirteenth and nineteenth centuries, from the United States during the twentieth and twenty-first centuries and from China between the nineth and twentieth centuries. Reference is also made to recent exhibitions featuring artist books and papercuts in in the museum and galleries sectors of Australia, the US, Asia, and Europe. [ABSTRACT FROM AUTHOR]

The article focuses on the cross-cultural manifestations of prosthesis of identity through the process of branding from sixth millennium BCE Syria to twelfth century Japan and Great Britain. Topics discussed include family crests provided identity garnered on garments in the Middle Ages and the Muromachi Period, and during the Middle Ages laws specified in minute detail what each class was permitted to wear in Great Britain.