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This paper adopts an art-based research model to investigate how media objects, as entangled material agencies, can become co-creators with artists and condition the viewers' memory and imagination. My work Recycled Series among other artists’ work are the subjects of this analysis. All these works involve images that are degenerated with a copy machine. The degenerated images lose coherence and become forms of ruins that the copier builds. Drawing from theories of things (Brown; Harman; Shaviro), I examine these works as the examples of “media-as-things” to show when media is misused, the potential of media is revealed. I place these works in the context of “broken-tech art” (Boym) and “haptic visuality” (Marks). I argue that these images determine a different object-subject relationship for their audience and their “thingness,” which is intensified through degeneration effects, becomes a major factor in their aesthetic reception.
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Knowledge has been the most important building block for humanity. The information obtained by various methods has been transferred, stored and developed from person to person over time. The development of technology, and the methods of transferring and hiding information have also changed. The information that was originally written on clay tablets took the form of books and magazines with the discovery of the printing press. With the development of digital systems, the information was transferred to computer and mobile and experienced a transformation. In this research, digital publishing was taken as the source of the transfer of information. Publishing date is examined and today's publishing methods and tools are evaluated. DPS technology and its advantages, which have been developed recently, is a subject that this research emphasizes. In the light of the information obtained as a result of the research, Hacı Bayram Veli University Art and Design Faculty Art and Design Digital Journal sample was prepared and presented.
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In every era of its history, the art branches have varied a lot in different societies. One of these branches is fabric weaving from traditional textile arts. The fabric is densely produced and continues to be produced in every region where Turks live, representing different technical, motive and compositional characteristics. The fact that Anatolia is one of the important textile centers is one of the reasons for the substantiality of fabric weaving, and there are textile fabric types that are specific cultural identity elements in geographical regions. The aim of this study is compose the geographical distribution by determining the types and characteristics of traditional fabric weavings with different characteristics woven or continue to be woven in Anatolia. Survey research design was used in this study. The universe of this study is traditional fabrics woven in Anatolia, and the sample is 32 traditional handwoven fabrics selected by random sampling from 7 regions. To collect data, written sources related to the subject were examined. As a result of this study; although there are differences in appearance of the fabrics, it has been revealed that they are mostly produced on whipped looms and mostly using cotton yarn, but silk, wool, floss, linen, angora wool, bristle and flax It has also revealed that plain weave in the ground knitting, weft brocade technique in pattern knitting was used, being preferred the natural color of the raw material, geographical sign related to many traditional fabrics are taken and in geographically distribution was mostly the Aegean Sea & Black Sea. The other fabrics, which are our historical weaving heritage, also need to be registered and protected. New projects should be made to keep the our weavings alive which are living documents of our cultural identity.
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During the art education process, students who are afraid to come up with new ideas and express their ideas, who turn to memorization or copy studies, and as a result, who produce studies that are far from creativity, are often encountered. In this research, it is aimed to give students the opportunity to express their opinions and put forward original studies without fear of making mistakes with brainstorming technique aimed at generating creative ideas. This research, using the method of action research, was carried out in the 2020-2021 academic year, in elective visual arts class, for 4 weeks, with 14 sixth graders. 57% of the students participating in the study are girls and 43% are boys. The data of the research were collected through semi-structured interview and document review. Explanatory analysis and document analysis were used in the analysis of the data. In the study, it was found that students can come up with more creative ideas based on the ideas of others. In the study, it was found that the students were successful in the process of producing ideas with brainstorming technique and applying the ideas they produced in visual arts course. In this direction, brainstorming technique can be proposed to ensure that visual arts course can be passed more efficiently by supporting students to produce effective ideas and put forward creative studies.
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Rebetiko had been evaluated as the music of sub-cultures and outsiders until it popularized. The performers of rebetiko lived in different cities, such as İstanbul, İzmir, Athens and Piraeus. After Population Exchange in 1923, most of the performers left their homelands and then rebetiko became “refugees' music”. The themes of lyrics were on love, death, exile, nostalgia/homesickness, and also war, pain, etc. Some Rebetiko songs and instruments such as bouzouki were sometimes banned by the government because of lyrics and considering as a “eastern culture”. Despite restriction and exclusion, rebetiko achieved to stay alive. During that period rembetiko widened its impact area and reached larger masses by some popular artists such as Theodorakis and Hadzjidakis. Rebetiko has become the voice of Greece with the development of tourism. This was followed by the addition of rembetiko to the UNESCO Intangible Cultural Heritage List in 2017. Hence, a sub-culture music has become a part of “national culture” The article focuses on the shifting situation of rembetiko in Greece and thus it indicates the dynamics of cultural production.
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When the connection between art society is examined in many ways, it is seen that the works produced reflect the characteristics of that period. While the destructions brought about by the first and second world wars changed many social events after the war, it also changed the existing position of art. Surrealism, which stands out with the task of questioning the human and the subconscious in the history of painting, is the formation and product of a crisis in world history after its interaction with the Dadaist movement.In the research, the expressions of the artists who used the theme of water and cloud in Western and Turkish painting art in line with surrealist understandings were discussed. These works of art, created without being caught in the bondage of the mind, bring the benefits of the iner or outer world as a result of an enviromental interaction; it is the result of a request to explain with an irrationallogic in micro and macro systems.
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The educational materials used in education and training activities in the changing world are constantly developing. The direct impact of technology on everyday life necessitates new researches and practices in teaching methods. Visual Arts teachers have started to benefit more from Kahoot Web 2.0 tools for material enrichment or the development of existing materials. In this study, learning outcomes of the 10th and 11th-grade students on Turkish and European Art are evaluated by comparing them with multiple-choice questions formed by Kahoot program. By the Kahoot program, applied in a contest format, which was used to assess the learning levels of theoretical subjects in the visual arts course, students were involved in an enjoyable learning-evaluation process. At the end of the research, suggestions have been made in that Web 2.0 tools can be used easily in Visual Arts courses as in other courses.
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Having gone through its golden age from the beginning to mid-20th century and becoming part of popular culture, Turkish Tango music initially made ground for itself in Turkey through Turkish lyrics written on foreign tunes, but once Turkish composers started adding local themes, Turkish tango music works started to be produced by several composers. The purpose of this study is to define and introduce the life, works and contributions to polyphonic Turkish music by Emin Cenkmen, one of the composers of Turkish tango music. Despite being a versatile, enlightened composer and academician who contributed greatly to the development of the nation’s cultural and art life through his works during the early years of the Republic era, the number of studies on Emin Cenkmen is almost non-existent. This study aims to overturn this deficiency by making a comprehensive research on Emin Cenkmen’ life, 1911-1993, his articles, books, concerts, folk music compilations, his clarinet production as a luthier, his various compositions such as operetta, Adalı Kız and Yosma operettas, Bayrak anthem and several others on Turkish tango music. A great part of the study is allocated for the detailed analysis of his Encyclopaedia of Music which he prepared with meticulous effort in 1947-1948. This study has been based on general screening model, one of the qualitative research methods. The data collection tool of the study consisted of written and verbal resources and these data have been systematically presented in the study.
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Education has an important place in human development activities from the past to the present. As a result of the importance of education, new updates and practices have been constantly introduced. Among these practices, life-based education practices have gained significance in recent years. This study aims to see what kind of effects the life-based preparation and implementation of "Basic Design" courses given to university students would have on students' practical skills. The research was carried out with first-grade students of the Konya Necmettin Erbakan University Ahmet Keleşoğlu Faculty of Education Department of Art Education, and the results obtained were evaluated. The curriculum prepared in this study applied to the study group consisting of ten girls and five boys, who took the "Basic Design Education" course in 2016-2017 at Konya Necmettin Erbakan University Ahmet Keleşoğlu Faculty of Education, Department of Art Education. Research data; semi-structured interview forms were obtained from student diaries, researcher diaries, and student application products. The data of this quasi-experimental study were analyzed with the content analysis method, and the findings were interpreted within the framework of research questions. It has been observed that the study of subjects by including them in life creates awareness in students, facilitates the beginning of their studies, and increases creativity. This study, which was created based on the idea that it would be appropriate to reinterpret design lessons by using new methods in the education of art, is thought to be significant for the field.
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As an indicator of our civilization, manuscripts have been given great value for generations. For this reason, there are many manuscripts in our country that have continued to both production and collections. Some of these works are archived in manuscript libraries and some of them are in various collections. Many manuscripts are still waiting to be revealed. As unique treasures, our manuscripts are the most beautiful indicators of our culture that has evolved over the ages as documents that illuminate history. The Sultan Ahmet I collection is one of these unique collections. This collection is located in the Süleymaniye Manuscript Library and consists of manuscripts that feature the Safavid period. This collection is located in the Süleymaniye Manuscript Library and consists of manuscripts that feature the Safavid period. Considering the quality of the manuscripts used in the collection and the style of decoration, it is understood that they have similar characteristics with the large size Shiraz manuscripts prepared using valuable materials between 1580-1590. In these years, when the production of flamboyant and large-sized manuscripts reached its peak, bookbinding decorations were made with paints obtained from precious metals such as gold, silver and lapis lazuli.
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Traditional hand woven weavings embody the culture, art and tradition of the region that are knitted. With a long history in Anatolia, The greater Kars region is famous with making various kirkit weavings such as carpets and rugs for ages. Although only few of them have been able reached to our days from the past, it is pivotal to gather information about these antique Kars rugs so as to learn from the past and pass to future generations. In this research, rugs woven in Kars province have been investigated in terms of their technique, color, motif, composition characteristics and their usage areas. The study is a descriptive research based on the screening model. As a result of the literature study and the interviews with the experts, samples of rugs were examined and information forms were prepared.
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Besides the visual and sociological structure of art of painting, there is also a documentary conception. This documentary understanding is based on the way that painters deal with the age they live with in their own perspective and present it to humanity. Rembrandt, the great painter of the Netherlands of the 17. century, has reflected religious and social events in his works as he works in his own age. However, it can be perceived as an indication of its humanistic structure that it is capable of acting on a subject of a different faith than its own religious belief. In the subject of the paper, four dervishes belonging to the religion of Islam have come together and chat. It is important to that Rembrandt’s work, one of the greatest painters of the world's art.
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Kütahya has been successfully carrying on the quality of being an important ceramic center with its traditional tile production, unique shape and variety of patterns since the 14th century. Kütahya has continued the production of traditional tile from the past to the present day, and in the 17th and 18th centuries it has given the most original and mature examples. It has been observed that, 18th century tiles have an important source in terms of archiving and examining these unique works in the hand-painted stamps on the tiles, in addition to the unique pattern and variety of shapes. Stamps used in Kütahya tiles respond to important technical and sociological information, such as when, by whom, and where the tile was made. For this reason, the marks on the 18th century Kütahya Tiles are thought to be an important symbol in terms of understanding the roots of our culture. When Kütahya Tiles, one of the most important symbols of local culture, are associated with the symbolic marks they possess, it is thought that this tradition, which has survived to the present day, has formed an important source in the study of social infrastructure. In this study, 18th century stamps containing shape, symbols, inscriptions and monograms in Kütahya Tiles were examined. These stamps are examined visually and symbolically and divided into four chapters; written in Ottoman, written in Armenian, monogrammed or signed, containing various shapes and symbols, and both written in Ottoman and contain symbolic shapes.
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Emerging as a new tool and form of criticism and theorizing, the audiovisual essay has stirred many different opinions within the academy, with its many different outcomes. For scholarly purposes, combining it with text, reflection and commentary seems to be the most common and most accepted form of audiovisual essay, easily found all over the internet in well-known video archives such as YouTube and Vimeo. Towards a more poetic end of the spectrum, breaking both the horizontal and vertical dimensions of any work may deepen and reveal new possibilities, often resulting in the creation of new hybrid pieces. This paper aims to demystify these new formats and concepts, focusing on its potentiality as a tool for criticism and its creative possibilities regarding music and, more specifically, opera.
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The desire to create a work that is both familiar and exotic, universal and timeless, manifests itself throughout the life of Brancusi, not only in his iconography but also in certain techniques that he appropriates: direct carving, polishing and light games, combinatory, asymmetry, stylization and kinetic art. The artist thinks that the material has a life of its own, a specificity that he must seek and understand in order to achieve unity with the form, considering in a certain way that the sculpture is already contained in the chosen material and that the artist has nothing else to do, but make it appear. Thus, the material contributes to the achievement of the form. With Brancusi, the structure of the socles highlights the spatial affirmation of the sculpture; it somehow protects it from the disorder, threats and arbitrariness of the real world. In this way, the socle serves as a support for the sculpture in a double sense: first of all it detaches it from the anonymous environment of the bodily world, and then it serves as a support for the attraction towards the freedom of a larger space.
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The text reviews the presence of Bosnian drama and prose literature on professional theater stages in BiH through performances that participated in the Theater Festival of BiH in Jajce in the last 50 years. Through an overview of the participation of performances at one of the most important state festivals, the presence of BiH plays in professional theaters in Bosnia is analyzed in the mentioned period - the treatment of BiH dramas by theaters as well as perceptions of them by the professional audience.
More...Humour in art and activism
This special issue of EJHR results from the proceedings of an exploratory workshop that took place in September 2013 at the Netherlands Institute for Advanced Studies (NIAS) titled “Humorous Approaches to Art and Activism in Conflict”.1 While not all contributors to the workshop are part of this issue, and not all contributors to this issue were part of the workshop, the exploratory gathering of scholars, artists, and activists served as a point of departure for an ongoing research project, the initial findings of which are presented in this volume. Interestingly, none of the contributors would strictly classify themselves as “humour researchers”, and the disciplinary divergences between the essays certainly do not end there. Yet it seemed fitting to position these varying interpretations of humour in relation to art and activism, particularly in sites of conflict, in a journal dedicated to the study of a field that already boasts of several decades of research.
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The article presents theoretical generalization and offers new solutions to the problem of developing creative skills in preschoolers in painting classes, taking into account the postmodern tendencies which are becoming increasingly common in the post-Soviet countries. The relevance of the article lies in the need to reform today’s education system in the post-Soviet space and develop pedagogical technologies to enhance the effectiveness of preschool education and reveal the creative potential of each child in the context of the postmodernism and the latest achievements in the psychology of creativity. The paper aims to develop and theoretically justify a technology for developing creative skills in preschoolers in painting classes in educational institutions for the postcolonial democracies on the example of Ukraine based on the analysis of relevant scientific sources and teaching placement. The article also substantiates the technology for developing creative skills in preschoolers in painting classes, which is defined as a model for organizing artistic and aesthetic activity of preschoolers aimed at expanding their cognitive experience and emotional perception of the world, as well as cultivating their aesthetic attitude to its objects and ensuring creative self-expression of each child. The article proves the validity of the open performative postmodernist approach, according to which playing activities, perception and enjoyment from creativity act as the main drivers of the creative activity of primary school children.
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NOTA: W związku z publikacją recenzji książki Marii Kostyszak Etyka osobista. O przemieniającym potencjale techniki i sztuki/ Personal Ethics. On the Transforming Potential of Art. And Technology (Collegium Civitas, Warszawa 2019, licencja Creative Commons, recenzenci: dr hab. prof. UWr Dorota Wolska, dr hab. Jan Wadowski) Redakcja postanowiła skorzystać z okazji i zapoznać Czytelniczki i Czytelników z fragmentami Jej pracy. Poniżej publikujemy wyimki z dwóch rozdziałów: Emancypacja dzięki sztuce oraz Potrzeba paronamicznego pacyfizmu. Bibliografię zestawiliśmy z prac przywołanych partii książki, której pełną wersję można pobrać z: https://www.civitas.edu.pl/wp-content/uploads/2015/03/etyka-osobistapersonal-ethics-maria-kostyszak.pdf
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