Abstract: ‘Temperate movements: Artistic Responses to Climate Vulnerability in the Canadian Arctic’ uses examples and methodologies from contemporary art and theory to think through the impact and legacy of Arctic Sea ice melt upon Inuit culture. Here, the work of Inuit artists Eldred Allen and Maureen Gruben illustrates how melting Arctic Sea ice maybe considered as relational space best understood through a cultural, rather than an exclusively scientific and data-oriented relationship to global sea rise level. Such a cultural perspective, which emphasizes the interconnection between humans, animals, and the environment, can counter dominant climate change imagery which tends to homogenize and de-socialize the Arctic as a single concept. The work of these Inuit artists is also considered as outreach to non-Inuit communities, both in terms of photographic art forms circulating in ‘southern’ contemporary art contexts, as well as becoming ‘novel’ indexes of climate vulnerability and resilience.

Using a humanistic and qualitative approach, the present study aims to (1) bring light on 1 the impact of clown doctors’ artistic work in pediatric oncology and, as a consequence, (2) contribute 2 to the refinement and improvement of the clown doctors’ intervention quality, in the context of 3 pediatric oncology, bringing hypotheses of reflection hardly met with quantitative approaches. We 4 are interested in the subjective experience of the artists, and the perceived subjective experience of 5 the child as reported by the clown doctors. The present analysis was developed from the clown 6 doctors’ final reports, their narrative, after visiting the pediatric oncology ward in a Portuguese public 7 hospital, for a continuous period of six months. The visits were performed by a clown doctor dyad, 8 and the audience was a young adolescent girl, with cancer, and her constant mother.9

Youth is the essential entrepreneurial force for every country's social, political, and economic development. Urban youth make up about 34.27 percent of the population in Ethiopia. The youth unemployment crisis is one of the serious challenges that Ethiopia is facing nowadays, and it should be mentioned in the nation's public discourse. Therefore, the main objective of this study is to specify the socioeconomic and demographic factors that influence urban youth unemployment in the Somali Regional State, specifically in Jigjiga, Degahbour, Kebridahar, Gode, and Dollo Ado towns. Both primary and secondary data sources were employed. A multi-stage sampling technique has been used to select 385 sample respondents from the total population of the study. This study found that almost 63% of youth in the study area were unemployed, and a large number of unemployed youths live in Jigjiga and Dollo Ado Towns as compared to other city administrations. The econometric model's findings indicate that factors like gender, education level, work experience, access to credit, access to information, time applied for job vacancy, active job seeker, social network (network with clan elders, government officials, businessmen, and other friends), and residence in Jigjiga and Gode town have a significant association with the likelihood of youth unemployment in the Somali regional state. Therefore, this study recommends that the regional government and local city administration should develop effective policies and strategies to address the underlying causes of gender inequality, improving access and quality of education, supporting freshman graduates to find jobs, providing access to credit and job vacancies, ensuring fair and free job competition, and managing youth migration for job seeking.

As the global aging trend continues to intensify, there will inevitably be more complex and diverse aging problems in the future. There is no doubt that designers have the responsibility to explore the possibilities of the future and solve the problems that will be faced in the future. Based on the Future Cone, the Double Diamond Model and the IDEO Method Cards, this study proposes a new model to guide the design practice of future aging issues in the context of aging. With the aim of validating and refining the framework, an ageing designer workshop was held where participants were asked to imagine, explore and express ideas about future ageing issues. The workshop was used to refine the proposed model. More specifically, the model includes a future concept, a design guidance process based on the Double Diamond Model, and tools that can be applied at all stages of design, which can help designers generate ideas and solutions for future aging problems, and collectively lead society to a more desirable future. Moreover, this study also explores broader directions for the development of the model and provides a reference for continued research on this topic in the future.

The emergence of new methodologies and tools for digitizing objects belonging to the Cultural Heritage (CH) changed the paradigms adopted so far. Traditionally, the process to acquire artifacts required specialized and often costly equipment tailored to specific purposes. However, the development of more generalized, adaptable, and affordable tools led to novel approaches. This manuscript provides a glimpse into the evolving landscape of custom-made tools for digital documentation, both hardware and software, and their transformative impact on the digitization techniques, built to meet requirements of specific case studies, including ancient drawings, manuscripts, paintings, and museum objects. The advent of self-built instruments has revolutionized the way professionals work today, by leveraging a new generation of low-cost, adaptable gears, leading to unprecedented flexibility and efficiency, while facilitating the capture of high-quality digital representations of objects with minimal damage and preserving their integrity. The outcomes of instruments and tools specifically produced for the contexts described in this paper highlight their potential for promoting interdisciplinary collaboration, facilitating scholarly research, enhancing conservation efforts, and fostering cultural exchange. Ultimately, this research contributes to illustrate how custom software, in combination with recent devices such as smartphones and 3D printers, underscores the importance of adopting these innovative approaches to generate an ecosystem of tools and methods able to preserve, document, and promote the richness of our collective past for future generations.

A single paragraph of about 200 words maximum. For research articles, abstracts should give a pertinent overview of the work. We strongly encourage authors to use the following style of structured abstracts, but without headings: (1) Background: Place the question addressed in a broad context and highlight the purpose of the study; (2) Methods: briefly describe the main methods or treatments applied; (3) Results: summarize the article’s main findings; (4) Conclusions: indicate the main conclusions or interpretations. The abstract should be an objective representation of the article and it must not contain results that are not presented and substantiated in the main text and should not exaggerate the main conclusions. This study presents a comprehensive literature review on the convergence of affective computing, interactive installation art, multi-dimensional sensory stimulation, and artificial intelligence (AI) in measuring emotional responses. It addresses the problem of understanding emotional response and measurement in the context of interactive installation art under artificial intelligence (AI). The study aims to fill the existing research gaps by examining three key aspects: sensory stimulation, multi-dimensional interactions, and engagement, which have been identified as significant contributors to profound emotional responses in interactive installation art. The study proposed approach involves conducting a process analysis of emotional responses to interactive installation art, aiming to develop a conceptual framework that explores the variables influencing emotional responses. The study will formulate hypotheses that make specific predictions about the relationships between sensory stimulation, multi-dimensional interactions, engagement, and emotional responses. By employing the ASSURE model combined with experimental design, the research methodology ensures a systematic and comprehensive study implementation. The implications of this project lie in advancing the understanding of emotional experiences in interactive installation art under AI, providing insights into the underlying mechanisms that drive these experiences. The contributions of this research include bridging the identified research gaps, refining theoretical frameworks, and guiding the design of more impactful and emotionally resonant interactive artworks. Ultimately, this research aims to contribute to the broader field of human-computer interaction and enhance the development of immersive and emotionally engaging interactive installations.

This paper aims to explore the development of the field of Intangible Cultural Heritage Design. It seeks to understand the global trends in this field and provide insights for its growth and development. The objectives are achieved through a mixed-methods approach that combines bibliometric methods and content analysis. This approach allows for a quantitative and qualitative analysis of the scientific literature related to Intangible Cultural Heritage Design. The findings of the work include an analysis of the most productive countries/regions, institutions, journals, and authors in the field of Intangible Cultural Heritage Design. It also includes citation and co-citation analysis, which helps identify influential scholars and popular journals in the field, as well as patterns of col-laboration within the field. The outcomes and implications for practice include a better understanding of the global trends in Intangible Cultural Heritage Design and insights for its growth and development. The research find-ings have important theoretical and practical implications for the field, and future research directions are pro-posed. The value of the paper lies in its contribution to a better understanding of the global trends in Intangible Cultural Heritage Design. It provides insights and assistance for its growth and development, mak-ing it valuable to researchers and practitioners in the field.

This article presents the results of technical and technological studies of the oil painting by the artist of German origin Werner Tübke “Hiroshima I" (1958). The creative heritage of the author has been little studied and represents scattered data on the technology of painting and artistic techniques. The aim of the work was to determine the artistic materials and painting technolo-gy described in his diaries, using the example of his only painting in Russia – “Hiroshima I". For this purpose, an integrated approach was used using non–invasive control methods - photo in the light of visible luminescence, infrared reflectography (IRR), radiography, portable X-ray fluorescence (XRF), as well as infrared-Fourier spectroscopy (FT-IR) and polarizing microsco-py using microprobes. As a result, the pigment composition of the painting layers was deter-mined, the painting technology was refined, and a previously unknown hidden portrait of Werner Tübke's father was revealed.

The aim of this study is to analyse the names given to streets, monuments, spots of interest, et cetera in a street guide of an imaginary city called The Manada, whose map is constructed as a painting. For this analysis, we start from the 257 entries of the Street Guide, select their possible antecedents in literature and contextualize this street guide with respect to these antecedents. Our methodology is focused on two specific aspects of the Street guide: (1) to detect the semantic fields that emerge (with a methodology inverse to the creative one, that is, asking ourselves what key questions would result in the names of the streets) and (2) to detect the literary devices that are put into practice in the names of the places on the map, in order to determine how the relationship with the viewer-reader is established from a connotative level. The main findings of this study demonstrate that this is a unique piece, a new format both pictorial and literary, and that it has transcendence in the theme it deals with: the concealment of systemic violence. Comments about feminism, apotropaic devices and surrealism end our text.

Artificial intelligence (AI) applications in different fields are developing rapidly, among which AI painting technology, as an emerging technology, has received wide attention from users for its creativity and efficiency. This study aimed to investigate the factors that influence user acceptance of the use of AIBPS by proposing an extended model that combines the Extended Technology Acceptance Model (ETAM) with the AI-based Painting System (AIBPS).A questionnaire was administered to 528 Chinese participants, using validated factor analysis data and Structural Equation Modeling (SEM) was used to test the hypotheses. The findings showed that hedonic motivation (HM) and perceived trust (PE) had a positive effect (+) on users' perceived usefulness (PU) and perceived ease of use (PEOU), while previous experience (PE) and technical features (TF) had no effect (-) on users' perceived usefulness (PU). This study provides an important contribution to the literature on AIBPS and the evaluation of systems of the same type, which helps to promote the sustainable development of AI in different domains and provides a possible space for further extension of TAM, thus helping to improve the user experience of AIBPS. The results of the study provide insights for system developers and enterprises to better motivate users to use AIBPS.

Through an investigation of recently discovered Incantation of Wish-Fulfillment amulets from the Silla kingdom, this paper reveals that early Korea had more diverse forms of dhāraṇī practices than previously assumed. This paper’s analysis of these amulets from Korea contributes toward filling the gap in our current understanding of the material practice pertaining to the Incantation of Wish-Fulfillment widely practiced in medieval East Asia. Based on an interdisciplinary analysis of the two amulet sheets of the Incantation of Wish-Fulfillment from Silla, this paper explored hitherto unknown aspects of early Korean dhāraṇī practice. Previously, the only material dhāraṇī practice in early Korea was thought to be the enshrinement of textual relics in pagodas based on the Pure Light Incantation, which has little connection to contemporaneous Chinese dhāraṇī practice. However, the newly discovered Incantation of Wish-Fulfillment amulets, whose date this paper inferred to be between the eighth and ninth century, show that the Unified Silla also had a dhāraṇī practice closely linked to the Chinese practice. However, unlike the Chinese Incantation of Wish-Fulfillment amulets that were buried in tombs, the Silla amulets were likely enshrined in one of the pagodas erected on Mount Nam, Gyeongju. At the same time, the Silla epigraph from Myogilsang Pagoda at Haeinsa shows that the Incantation of Wish-Fulfillment was placed in the pagoda so as to wish for good afterlives of the soldiers who died at the battle, suggesting that placing the Incantation of Wish-Fulfillment in a pagoda had a function similar to that of burying the Chinese amulet in the tomb.

This paper analyzes the collection of George Viau (1855-1939) from a computational perspective. Indeed, this dental surgeon, close to the Impressionists, collected several hundred works of art in the first half of the 20th century: the auctions of his collection, in 1907, 1930 and after his death, in 1942, 1943 and 1948, accounted for 642 artworks and, during the Occupation, the 1942 sale produced a total of more than 46 million francs. Thanks to statistics, econometrics, network analysis and cartography, it is possible to understand the salient features of the collection and its place in the world of Parisian auctions.

The province of Jaén (Andalusia, Spain), despite being declared the European territory with the largest number of defensive constructions (castles and fortifications), has few conservation plans, with many remains included on the Red List of Spanish Heritage lying abandoned. This presents a problem for the conservation of the landscape and the optimal use of the province’s tourism potential. Two actions are proposed to alleviate this situation: The creation of an archaeological and environmental risk chart with which to answer such ques-tions as “How have climate change, anthropic alterations and environmental characteristics af-fected the state of conservation of certain heritage sites?” and to put forward proposals for im-proving their protection using as a basis digital and technological tools, such as remote sensing (SAR), taking advantage of data from the Sentinel 2A and 2B satellites, HBIM, RPAS and GIS. To foster the promotion of smart tourism by digitalising and virtualising tourist routes and ar-chaeological remains by building a Smart Tourism App for mobile devices. Finally, public administrations will be apprised of the need to implement a conservation policy for cultural assets and their surroundings in a simple, quick and cost-effective manner.

The pride of power of the Spanish preachers of religious art is reflected in the church of Santo Domingo built between 1541 and 1688. This work of heritage architecture, one of the first to be built in the colonized city, was affected by multiple earthquakes, interventions, and constructions that do not have a clear record. A total of 13 samples were taken from the lining mortar inside the cloister, central nave, and side chapel, following the nondestructive testing protocols and standards suggested by the research team. The analysis included mineral characterization studies and quantitative analysis by X-ray diffraction and scanning electron microscopy with microanalysis of the samples. The results showed the presence of volcanic aggregates and lime lining and joint mortars, mortars of rustic composition and coarse manufacture. The resolution of the data of mineralogical composition and texture has allowed us to corroborate the historical information described by the chroniclers and to date relatively the studied sites and to establish a hypothesis of constructive stages.

With the increasing availability of large digitized fine art collections, automated analysis and classification of paintings is becoming an interesting area of research. However, due to domain specificity, implicit subjectivity, and pervasive nuances that vaguely separate art movements, analyzing art using machine learning techniques poses significant challenges. Residual networks, or variants thereof, are one the most popular tools for image classification tasks, which can extract relevant features for well-defined classes. In this case study, we focus on the classification of a selected painting 'Portrait of the Painter Charles Bruni' by Johann Kupetzky and the analysis of the performance of the proposed classifier. We show that the features extracted during residual network training can be useful for image retrieval within search systems in online art collections.

The Seljuks, who came from the Central Asian prairies, invaded Asia Minor towards the end of the 11th century. The land had been settled by then mainly by the Christian Eastern Romans and Armenian peoples. Seljuks were Moslems; they built monumental structures, some of which have survived the natural disasters of several centuries to the present day. Most of these architectural marvels contain extraordinary decorations in the form of ornaments, friezes and rosettes. I have studied periodic ornaments and classified them into 17 mathematical wallpaper groups according to their symmetry properties that reveal their global structure. On the other hand, the local details of the ornaments, the motifs, show a clear variation from simple geometric patterns to complicated and refined forms. Seljuk art was originally influenced by Persian styles, later influenced by the Christian population in Asia Minor, and finally represents the impact of Islamic culture.

This study applied multiple scientific approaches to establish the significance of an old work of art, Red Guitar, by examining its historical origin and the color materials used in its creation. Furthremore, the study provides thus far unknown pieces of Olga Picasso's family history to be added to her biography. Scientific approaches included digital X-ray radiography, X-ray fluorescence spectroscopy, infrared Fourier transform spectroscopy, Raman spectroscopy, and elemental thermal conductivity analysis. This combination of techniques provided broad confirmation about the time when the painting was created. The work includes colors (white, black, blue, yellow, green, red, and brown/red) and prevalent use of lead-and iron-based historic pigments Chrome Yellow, Yellow Ochre and Red Ochre. It also documents the use of unconventional materials, the colorant Pigment red 4 and nitrocellulose. This investigation led to the conclusion that the art, Red Guitar, is genuine and in accord with Picasso’s work during the first two decades of the 20th century.

Since the 21st century, China's urbanization process has been rapid development, the concept and function of urban public space in the city has been gradually paid attention to. In order to guarantee life and water, most urban construction relies on rivers, and Bridges are the most important way to communicate between urban areas. The main functional part of the bridge is the span structure, that is, the bearing structure of the bridge, and the lower part of the "gray" space formed by the bridge structure. Considering the social level, with the economic growth and urbanization development, people have brought a better living environment and quality of life, and also improved the requirements for urban public environment. In the increasingly tense urban space, how to use and transform the space under the bridge is a problem that needs to be considered and solved. In view of this problem, in this study, we try to solve the micro-transformation of space under Bridges in cities through public art from the perspective of "regional culture" and "art for all". This paper analyzes the micro-transformation of space art under Bridges in two large cities of Shanghai and Foshan, namely, the space under Bridges under Songhong Road in Shanghai, the space under Bridges under Central Of Suzhou River and the space under Bridges under Pingsheng Bridge in Foshan. This paper discusses the cultural intervention of "regional culture" in the micro-transformation of the space under the bridge, and the influence and effect of "art for all" on the public art space under the bridge after the transformation to the community and the public.

This paper takes the VR animation display of the Ming Xiao Mausoleum General stone statue life as an example to study the advantages of VR animation in the display of material heritage. Combined with literature and pictures, the digital restoration of the Ming Xiao Mausoleum stone statue is carried out in MAYA and Z brush, and the construction of the scene and the output of the final effect are realized in UE4.

Colours were ubiquitous in the medieval world, and castles were no exception. While in the eyes of most people their rich colour schemes manifested power and wealth, some could also read the more nuanced messages these colours conveyed. The main objective of this paper is to discuss the use and role of colour in the interiors of castles of medieval Bohemia and Poland. The picture is complemented by the analysis of colour decorations of defensive residences of the Teutonic Order, for which colour schemes of external facades can be addressed as well. The dis-cussion takes into account the varying state of preservation and draws from the available writ-ten accounts. To present the most complete picture possible, we discuss royal residences, for which unfortunately limited data is available, as well as better-preserved castles of dukes and knights. We discuss the identified iconographic programmes and their chivalric, heraldic, and hagiographic motifs. Also within the scope of our discussion are late forms of floral decorations, known as “green chambers”. The numerous examples presented in the paper prove that colour was an important tool of visual social communication in castle architecture: it complemented the symbolism, and sometimes carried an independent message.

Digital skills are essential in today’s digital age, which means that students must gain technology-enhanced skills from higher education for their future careers. Studies in Art & Design (A&D) programs in this university surveyed three faculties’ perspectives and nineteen students’ experiences. During the COVID-19 pandemic, this university changed its teaching and learning strategies by offering courses online during autumn 2020 and spring 2021 during mandatory quarantine. However, the A&D program was not entirely based online. As a result, it is important to take a closer look at the A&D programs offered in order to assess the faculties’ perspectives and students’ experiences during the two online semesters. The study included online surveys from instructors’ perspectives and with regard to students’ experiences about the quality of studio learning, traditional studio learning opportunities, and online studio learning opportunities via either live (on-campus) or online studios. Using relationship-based research design, posttest data surveys were collected to ascertain the differences in the mean scores, standard deviations, and percentages of some forms of agreement between the faculties’ perspectives and students’ experiences of the quality of studio learning, traditional studio learning opportunities, and online studio learning opportunities in these Art & Design (A&D) programs. This quantitative research aimed to develop formative assessments and suggestions while establishing whether it would be possible to hold all A&D courses online in a higher education setting.

The article is dedicated to the role of polychrome solutions of the architectonic order in the concept of the Baroque façade. The ancient principles of designing architectural structures, inherited from the Renaissance were subjected to reinterpretations in order to impart different expressive values. The arrangements of façades, initially balanced or even horizontal, were replaced by ambiguous bivalent compositions. Vertical layouts began to dominate in the Baroque. Appropriately selected polychrome of the elements of the order could emphasize the compositional expression. The relationship between the layout of the polychrome in a given architectural order and the expression of a work of art has been established for quite a long time. However, the generally available data on color schemes of architectural structures in baroque buildings are still not fully organized. The paper analyses examples of Baroque façades preserved in their original state and revalorized in recent years after thorough conservator’s research in the field of architecture and color. The examples are mainly designed in the so-called great order, i.e. pertaining largely to church façades. In the Baroque, the vertical direction of the composition was strongly emphasized by multiplying or applying perspective arrangements of supports, and finally by embattled entablatures. The decisive field of change became the shaping of the coloristic decoration of the entablature – decisions regarding the material and color separation of elements of the frieze above the supports. The uniform color of all vertical elements of the façade structure guaranteed an unambiguous verticality of the composition.

The outdoor sculpture of the first Portuguese king, D. Afonso Henriques (~1109 – 1185 AD), placed in Guimarães (North Portugal) is one of the most emblematic national sculptures. Created in 1887 by António Soares dos Reis, it possesses a remarkable symbolic value in the presumed birthplace of the king. In addition to the artistic and heritage importance of the monument, it is one of the few sculptures cast by a Portuguese industrial foundry in the 19th-century. This study obtained data on the sculpture's elemental composition and corrosion products, gathering important historical and technical information. For this purpose, a multi-analytical approach consisting of X-ray fluorescence (XRF), X-ray diffraction (XRD), optical microscopy (OM) and scanning electron microscopy (SEM-EDS) was carried out to characterise the bulk metal and corrosion layers. The data revealed a ternary alloy of Cu, Sn, Zn with Pb, Fe, As, Bi and Mn as minor elements. The alloy matches that of other sculptures cast in that period. In terms of corrosion, it is characterised by the presence of oxides. These results represent the first step for applying an appropriate conservation strategy for bronze sculptures with similar characteristics.

A contrasting empirical evaluation will be provided with the aim of suggesting that the reductionist approach results in experiments that are not reproducible.

Two major uses of linear perspective are in planar paintings - the flat canvas is incongruent with the painted 3-D scene - and in forced perspectives, such as theater stages that are concave truncated pyramids, where the physical geometry and the depicted scene are congruent. Patrick Hughes pioneered a third major art form, the reverse perspective, where the depicted scene opposes the physical geometry. Reverse perspectives comprise solid forms (truncated pyramids and prisms) jutting toward the viewer, thus forming concave spaces between the solids. The solids are painted in reverse perspective: as an example, the left and right trapezoids of a truncated pyramid are painted as rows of houses; the bottom trapezoid is painted as the road between them and the top forms the sky. This elicits the percept of a street receding away, even though it physically juts toward the viewer. Under this illusion, the concave void spaces between the solids are transformed into convex volumes. This depth-inversion creates a concomitant motion illusion: when a viewer moves in front of the art piece, the scene appears to move vividly. Two additional contributions by the artist are discussed, in which he combines reverse perspective parts with forced and planar perspective parts on the same art piece. The effect is spectacular, creating objects on the same planar surface that move in different directions, thus “breaking” the surface apart, demonstrating the superiority of objects over surfaces. We conclude with a discussion on the value of these art pieces in vision science.

A critical context is an essential aspect of practice-based research; however, a lack of structure exists to obtain and evaluate criticism from peers. This paper presents a case study of how the ‘silent student’ critique method used in Higher Education settings in the UK (Elkins, 2014) was adapted for a holographic arts research study. A ‘silent researcher’ critique session with nine experts was held in Aveiro, Portugal, June 2018 to evaluate the author’s digital holographic artwork, on display at the City Museum. The experts asked the author critical questions about the artwork while the author remained silent. The session was filmed, transcribed and processed using a general inductive approach for analysing qualitative evaluation data (Thomas, 2006). This paper outlines the benefits and drawbacks of using this new critique method for research. The benefits included; participant’s careful response to the artwork avoiding engagement of egos of critic and researcher, the drawbacks included the difficulty of evaluating against a pre-determined research question when the discussion could not be steered. This paper evaluates the artwork critiqued describing how the work contributes to the aesthetic development of the medium of holography; which used the Z-axis of holographic space to depict a chronological narrative.

The science on the anthropogenic airborne aerosols impacting upon the World Heritage marble monument, the Taj Mahal, at Agra has been studied in the light of modern physico-chemical approaches. The study is an effort to understand yet unrecognized airborne species which were found on the surface of the Taj Mahal monument. These species have been analyzed in the light of current analytical methods to impart characterization features and their possible impacts on the surface of the marble. Chemical constituents of these substrates which were incorporated over the top surface of the monument have been identified. Interestingly, the carbon particulates which were thought in the micro level, popularly called “particulate matters” has now been identified even in the nano domain entity, which are chemically more reactive, have been found on the surface of the monument. Because of their high chemical activity these nano carbons do play newer chemistry in the presence of air and sunlight generating several reactive oxygen species (ROS).These ROS are capable to respond to complicated chemical reactions on the surface of the marble in association with deposited cyanophyceae and other deposits of plant origin causing rapid degradation. This study provides the nature of onslaught borne out by such monument exposed under the prevalent smoggy environmental scenario.

Identity is the basis and foundation of the cultural landscape. Despite the emphasis of international documents and charters on its various aspects and necessity, today, the cultural landscape is threatened by extinction due to changes of many parameters. Accordingly, it is crucial to find an approach that can sustain cultural identity and its values in the changing world of the twenty-first century. Given the qualitative and the changing nature of cultural identity, achieving an approach which can lead to its continuation is not straightforward. By reviewing and analyzing international conventions and documents, on the one hand, and expert opinions, on the other hand, the present study, therefore, aimed to find out how the approach of cultural landscape values conservation can lead to the continuation of cultural identity in the natural and cultural heritage of Uraman Takht. This paper employed qualitative research methods as a basis for data collection and analysis, which primarily involved the use of content analysis along with field observations and interviews with stakeholders and indigenous residents.

Performing arts used as a method of spreading health information dates back to the origins of storytelling. However, interventions in developing, non-Western countries typically utilise Western entertainment forms. This qualitative investigation assesses responses to an intervention designed around traditional Javanese shadow puppetry (wayang kulit). Semi-structured interviews provided in-depth responses from a sample (n=12) of villagers. Responses analysed both cross-case and within-case, focused on perceptions of the music and storyline, responses to the intervention, and perceived appropriateness of wayang kulit for disseminating a health message. Wayang kulit was considered to be interesting and easy to remember, but concerns remained regarding the reliability of information provided through the drama. The fusion of traditional and modern music and story elements were perceived positively. Some participants were inspired to improve their hygiene practices, although the lack of motivation, or belief that they were unable to change was noted. The performance was generally received positively in terms of the nature of the intervention, the fusion of traditional and Western music and story elements, as well as the use of wayang kulit to spread health information. The study provides guidance for modifications to the production, prior to scaling up.

During the last decade, smart materials have increasingly impacted on several niches, among which that of one-off/limited edition experimental fashion. Thanks to their performativity, due to the implementation of Smart Materials Systems, they have reached indeed catwalks as well as museums and galleries. As boundaries between what-is-art and what traditionally was not supposed to be art are now turning into osmotic membranes, zooming on how smart materials are highly contributing to outline the new creative landscape can provide with interesting and compelling issues. Introducing three different areas of experimental fashion, named Multi-sensory dresses, Empathic dresses, and Bio-smart dresses and accessories, respectively covering the world of in-Lab experiments and design collaborations in relation to the application of advanced smart materials systems, the article discuss some of the implications in term of Design Thinking and Design Aesthetics.

Aims of the paper are the results of a research on a wooden box that holds an important historical document, which is a hand Bible handwritten in the thirteenth century. The tradition connect this Bible to the name of Marco Polo (Venice, 1254 - Venice, 1324), who would be the owner and that it would accompany him on his travels (1262 and 1271) in China. The Bible, of fine workmanship, written on thin parchment, and its container, along with a yellow silk cloth, is preserved in the ancient and prestigious Laurentian Library in Florence. The manuscript was in very poor condition and in the course of the study (2011) was being restored. Aims of survey were to determine the place and period of realization of the box, or rather if it be contemporary or later than the manuscript it contains and whether it was made in the East or in Europe.

In considering the question of machine as artist, the art object can be analytically separated from its making, and its making can be dualistically conceptualized as process on one hand and experience on the other. One of the reasons we value art is that there was an experience of its making. To better understand what is meant by the experience of art-making, this paper presents results from a qualitative, phenomenological study of a group of artists. These results appear in three groups: feeling, intention and lifeworld. Machines cannot experience art-making, at least not in the same way as humans, and thus they cannot create art but only art-like objects. Even so, in the present century, we should not be asking whether machines can be artists, but rather how machines can help more people experience art-making for themselves.

Flavours of Glenroy (2013-4) was a socially engaged art research project focused on developing strategies to connect the diverse, mobile and transforming community of Glenroy through the theme of growing and distributing edible plants. The project was action research based, where artist researchers used creatively imagined mobile edible gardens to connect and engage with locals through project presentation and execution. The process of producing, presenting and conversing about edible gardening revealed Glenroy to be a transnational Australian dream suburb, reflecting the fluid globalising conditions of our cities. The project emphasized how social relations encouraged through art, has the capacity to transform social spaces, providing a platform to introduce new voices and narratives of a community and encourage inclusive participation in sustainable citizenship.

This article aims to approach the Mudejar architecture developed in Mexico during the 16th and 17th centuries. The subject has been little studied although both general and specific contributions have been made by the author’s research group. At the methodological level, this study is based on the existing bibliography as well as archive and field research which allow an accurate scientific approach and results. The article analyses the social and productive conditions in Mexico during the Viceregal period along with the systematization carried by the Viceroy Antonio de Mendoza, the guild ordinances and the architectural typologies. The perception of territory and the use of constructive models by the Viceregal authorities would justify the use of the Mudejar style as cultural and unity criteria

It could be said with some precision, that in Antiquity the myth of the Argonauts and especially of Medea herself as a personage of this myth, has enjoyed popularity not only in Greece but also outside its territories. The first among the Italic tribes to be introduced to the personage of Medea no doubt were the Etruscans, who were the first to establish intensive contacts with the Greeks from Euboea founding a colony in Cumae, Italy. It is noteworthy that the first image of Medea in the World Art is seen on Etruscan ceramics. The paper gives detailed analyses of Etruscan artefacts on which Medea appears, providing a solid precondition for substantive conclusions. Some new versions of an interpretation expressed in relation to each of the artefacts on the basis of critical analysis of Etruscan archeological material, of classical texts and of previously undertaken modern research, are provided. Images of Medea in Etruscan art confirmed from the Orientalist era to the Hellenization period represent an original, local interpretation of Medea's image. Medea's magical art turned out to be familiar to the Etruscans, who were well known all throughout the Mediterranean for divination and being experts of magic. In contrast to the Greeks, they turned Medea into an object of cult worship, identifying her with the Etruscan sun god Cavatha.

The aim of this paper is to identify and document some functions and contextsof traditional pottery within northern Ghana. The descriptive approach of the qualitative research methodology was employed. Interview and observation methods were employed as the data collection methods. They were used to ascertain reasons why some potteryare engaged in certain contexts andfor certainfunctions. The data was tabulated to include the traditional name of the pot, the function and the context. The data were then analyzed and the indications were that, the potters make interesting forms of traditional pottery for different purposes; and the local name given to each pot perfectly defines their functions and contexts within northern Ghana. On the flipside of the coin, the function and context of every pot can also be dictated by its end user. Base on this, the researchers were able to discover some functions and contexts of the indigenous pottery which were put into some groups. On the first hand, the researchers classified the functions into five groups of purpose. These included: domestic purposes, religious purposes, agricultural purposes, rites of passage purposes and traditional herbal medicinal purposes. On other hand, seven groups of contexts were also discovered at the time of the study. These included: courtyards, bedrooms, bathrooms, graveyards, kitchens, shrines, and hencoops as places where these pots can be found among the people of the Northern Ghana.

The significance of arts incorporated with culture inclusion makes the arts a matter of pressing interest. The arts are vital elements of a healthy society that benefits the nations even in difficult social and economic times. Based on the previous studies this research was conducted for the first time in Pakistan to explore the historical background of public art correlated with cultural and religious ethics. Though, Pakistan has a rich cultural history yet the role of modern public art is new and often used unintentionally. Our findings of different surveys conducted in Pakistan including oldest cities such as Lahore, Peshawar and newly developed, the capital city, Islamabad concluded that Public art has a rich cultural and historical background and the local community are enthusiastically connected to it. Different community groups prefer different types of public art in their surroundings depends on the city’s profile, cultural background, and religious mindset of the local community. Overall, the sculptures and depiction of animated beings are not considering right and debatable among the Pakistani societies. On the other hand, the cultural and historical monuments are highly appreciated and welcomed by the local community of Pakistan. This study may create scope for future estimation and development of public art in Pakistan in association with Islamic laws and cultural norms of the local society.

Architecture is more than just buildings. Its associated production and reception pro­cesses take place through a variety of different media. Among those media, the model is of special significance: because architecture, like almost every science or art, works with models as representa­tionally or theoretically simplified images mediating between the abstract and the reality. The properties that characterise models give them a special significance in archi­tecture—both in the abstract, as well as in the concrete. The following article sketches out the history of the architectural model as a medium in a short tour d’horizon. A special focus is placed on showing the versatility of the model—for design and presentation and as an artefact, teaching resource and research medium. It transmits a specific form of knowledge which can be replaced by no other medium.

In the second half of the 19th century a wave of modernisation, industrialisation and urbanisation swept the Nordic countries, catapulting what had until then been lagging and primarily rural countries into modernity. These major upheavals, however, also plunged the Nordic countries into a profound social and cultural crisis resulting from their consciousness of their own backwardness vis-a-vis the countries on the European continent, as well as the recognition that a nostalgic nationalism recalling a mythical past had become obsolete in the industrial age. In response to this crisis, a life reform movement emerged that was based on Arts and Crafts movements as well as various artistic and literary reform movements and—equally absorbing rural traditions and progressive social ideas—tried to establish a new national everyday culture. In this article, the two key terms coined by Ellen Key, “Festive Customs” (‘festvanor’) and “Everyday Beauty” (‘vardagsskönhet’)—the programmatic core of the Nordic life reform movement—are analysed and illustrated in various typical manifestations. It also examines to what extent the Nordic life reform movement with these two key concepts as its core agenda found expression in arts and crafts, in painting as well as in the architecture of the late nineteenth and early twentieth century and contributed to the progress of social and cultural renewal.

This paper proposes a new approach to investigation into the aesthetics. Specifically, it argues that it is possible to explain the aesthetic and its underlying dynamic relations with axiomatic structure (the octahedral axiom derived category) based on contemporary mathematics – namely, category theory – and through this argument suggests the possibility for discussion about the mathematical structure of the aesthetic. If there was a way to describe the structure of aesthetics with the language of mathematical structures and mathematical axioms – a language completely devoid of arbitrariness – then we would make possible a synthetical argument about the essential human activity of “the aesthetics”, and we would also gain a new method and viewpoint on the philosophy and meaning of the act of creating a work of art and artistic activities. This paper presents one hypothesis as a first step in constructing the science of dynamic generative aesthetics based on axiomatic functionalism, which is in turn based on a new interdisciplinary investigation into the functional structure of aesthetics.