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.

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.

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.

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.

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.

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.