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Baharom, Mohd Khairi, und Siti Ermi Syahira Abdul Jamil. „Studio Project on the Sculpture Entitled Retrospection and Prodigy Series“. Idealogy Journal of Arts and Social Science 6, Nr. 1 (28.04.2021): 27–34. http://dx.doi.org/10.24191/idealogy.v6i1.251.
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An artwork creation requires a particular process which involves knowledge, creativity and skill. The process demands the artist’s comprehension of the work’s issue that is usually incorporated in the artwork. This article discusses the process of sculpture that applies via the studio-based research method of which the study has integrated data investigation, progression of idea, fabrication of artwork and art criticism. This study determined a series of sculptures titled Retrospection and Prodigy made by Mohd Khairi Baharom (2012) which practiced the studio-based research method. To incorporate the critical issue in the sculpture, the studio project investigated the sculptor’s center of discussion that has been used in the phenomenological study approach. The sculptor’s childhood memory lives in rural areas with limited accessibility causing the expansion of his imagination and craft skills. This matter has motivated him to use his childhood reminiscence for the aesthetic content in the sculpture. The sculpture process involved several phases of studio projects such as data compilation, concept and form development, and artwork fabrication. The additional data of sculpture criticism has also been included in the article for better interpretation.
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Zhou, Tengchao. „Southern Wind Algorist: Merging Nine Algorithms with Nine Gay Stories Written in Classical Chinese“. Proceedings of the ACM on Computer Graphics and Interactive Techniques 7, Nr. 4 (19.07.2024): 1–10. http://dx.doi.org/10.1145/3664212.
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This paper presents an immersive interactive art installation called Southern Wind Algorist, which explores the convergence of knowledge from multiple disciplines. The installation is situated at the intersection of media arts, Chinese studies, and gay & lesbian studies. It combines nine well-known algorithms in the history of computer graphics with nine gay stories written in classical Chinese. The resulting artwork is a unique fusion that has never been assembled before. The paper delves into the related works, the cultural context of the stories, the visual effects' relationship with the underlying themes, methodology, public reception, technical aspects, and sustainability. It also addresses issues related to the artwork's linguistics and visual accessibility. The installation creates a space for people to reflect on queer desires' historical perspectives and future trajectories and promotes cultural diversity.
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Rani, Rekha. „Metadata and its Elements for the Storage and Retrieval of Graphic Material and Artwork“. VEETHIKA-An International Interdisciplinary Research Journal 9, Nr. 2 (30.06.2023): 19–25. http://dx.doi.org/10.48001/veethika.2023.09.02.004.
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In today's digital age, the management and preservation of artwork have taken a digital turn, necessitating the use of advanced tools and methodologies. One such crucial aspect is metadata – the structured information that provides context, description, and organization to artistic creations. The current research delves into the diverse forms of metadata and their constituent elements utilized in the context of Graphic Material/Artwork across a range of institutions, museums, and galleries. Metadata standards, that aid in managing, describing, indexing, and ensuring the long-term preservation of digital information. This article will prove to be a valuable reference for professionals such as Fine Arts College Librarians, Archivists, Technicians, and other personnel involved in describing Graphic Material/Artwork. Within this piece, a presentation is made of the various metadata standards and their corresponding components, encompassing frameworks like Categories for the Description of Works of Art (CDWA), CDWA Lite, Dublin Core, VRA (Visual Resource Association) Core 4.0, RLG REACH (Record Export for Art and Cultural Heritage), and Object ID. These standards are employed to organize and characterize Graphic Materials/Artwork, underscoring the significance of metadata in the art world. This significance is highlighted by showcasing its diverse types, elements, and standards that collectively facilitate efficient organization, accessibility, and preservation.
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Gawlak, Agata, Paulina Kowalczyk und Joanna Stefańska. „Unconventional exhibition spaces as an example of the synergy of architecture and art“. Teka Komisji Architektury, Urbanistyki i Studiów Krajobrazowych 16, Nr. 1 (31.03.2020): 20–27. http://dx.doi.org/10.35784/teka.2414.
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The article pertains to the relationship between an artwork (painting) and architectural space, as well as the issue of adapting unconventional architectural spaces for an exhibition function in relation to the author's exhibitions presenting the paintings from the same painting series. Different exhibition concepts of each of the exhibitions emphasize the role of a painting in shaping the architectural space and the quality of this space. An artwork becomes a tool that organizes space and influences its quality. At the Faculty of Architecture of Poznań University of Technology, as part of the research project of Professor A.M. Łubowski and J. Stefańska, D.Sc., titled "Artwork in Architecture", there has been research conducted on the correlation of architecture and art. The author was invited to participate in three exhibitions carried out as part of this project. The experiences connected with the project have been described in this article. The problem of using the interiors of buildings whose original purpose was different from exhibiting art , became a part of the author's research carried out in the form of individual and collective exhibitions. Two of them, which took place between 2017 and 2018, showcased paintings from the same series, entitled " I Have Been to Hel(l) and Back. And: Let me Tell you, It Was Wonderful ”, highlighted the importance of the dialogue between architecture and art and created awareness how much this interdependence influences the transformation of the perception of both art and architecture. Appropriate compositional solutions and an appropriate selection of artworks contribute to the complete visual satisfaction of the recipient. Ill-considered combinations cause visual discomfort, which detracts from the potential of both works of art and architectural space. Therefore, it is a need to perform an in-depth analysis of the relationship between the artwork and architectural space, and to avoid conventional, schematic exhibition solutions. The same works placed in various spaces affect the viewer in a different way. The change of the environment influences the change of perception, which creates new interpretative possibilities for the painting’s narrative, while the architectural space gains a wider context of reception through its individualization and increased accessibility. The emotional and intellectual aspect of painting enriches the space with new meanings.
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Oh, Uran, Hwayeon Joh und YunJung Lee. „Image Accessibility for Screen Reader Users: A Systematic Review and a Road Map“. Electronics 10, Nr. 8 (16.04.2021): 953. http://dx.doi.org/10.3390/electronics10080953.
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A number of studies have been conducted to improve the accessibility of images using touchscreen devices for screen reader users. In this study, we conducted a systematic review of 33 papers to get a holistic understanding of existing approaches and to suggest a research road map given identified gaps. As a result, we identified types of images, visual information, input device and feedback modalities that were studied for improving image accessibility using touchscreen devices. Findings also revealed that there is little study how the generation of image-related information can be automated. Moreover, we confirmed that the involvement of screen reader users is mostly limited to evaluations, while input from target users during the design process is particularly important for the development of assistive technologies. Then we introduce two of our recent studies on the accessibility of artwork and comics, AccessArt and AccessComics, respectively. Based on the identified key challenges, we suggest a research agenda for improving image accessibility for screen reader users.
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Pande, I. Made Suandana Astika, I. Gede Bintang Arya Budaya und Padma Nyoman Crisnapati. „WebGL 3D Virtual Exhibition as a Media to Increase the Visibility of Digital Artwork“. JTIM : Jurnal Teknologi Informasi dan Multimedia 5, Nr. 3 (08.09.2023): 186–95. http://dx.doi.org/10.35746/jtim.v5i3.376.
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The ongoing digital transformation continues to shape various domains, including the realm of art, which adopts social media to digitally promote artworks. Nonetheless, physical art exhibitions maintain their allure as they provide a direct experiential interaction for visitors. Consequently, the development of exhibition platforms that amalgamate user experience with accessibility becomes imperative. One emerging solution involves leveraging information technology and multimedia for virtualization, such as utilizing WebGL for creating a 3D Virtual Exhibition (3DVE). Employing the ADDIE methodology and evaluating it through the Technology Acceptance Model (TAM), the assessments affirm the robust performance and positive responses of 30 participants towards WebGL 3DVE. This development yields practical benefits, particularly for artists seeking to enhance the visibility of their creations. Furthermore, the inherent ease of use and broad accessibility can expand the potential audience for enjoying artworks. The percentage acceptance rates according to TAM validate favorable responses across usability (88%), ease of use (74%), satisfaction (90.6%), and technological acceptance (84.6%). Thus, the deployment of WebGL 3DVE in art exhibition development showcases strong potential in delivering a deeper and more inclusive experiential journey.
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Rubio, Claudio, Nicolas A. Barriga, Ben Ingram, Huizilopoztli Luna-García und Felipe Besoain. „Exploring Procedural Content Generation of Environments for Virtual Museums: A Mixed-Initiative Approach“. Heritage 8, Nr. 4 (09.04.2025): 134. https://doi.org/10.3390/heritage8040134.
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Cultural heritage preservation and dissemination face significant challenges in the digital era, particularly in artifact representation, visitor experience personalization, and virtual exploration scalability. This paper presents a tool for the development of a virtual museum, introducing a new system that addresses the challenges of the design and arrangement of the virtual environment process with two integrated stages: (1) Museum Generator, a procedural tool for creating realistic and adaptable virtual museum environments and (2) Artwork Arrangement, an automated system that optimizes the placement of artifacts based on thematic and spatial considerations. The system is validated through a Grid Search Method experiment that seeks to identify the combination of genetic operators that maximizes performance in arranging artworks in a virtual museum and evaluate how modifications to these operators affect the performance of different evolutionary executions. Results indicate that the proposed approach provides an effective and scalable solution for contributing to the design and arrangement of a virtual environment for museums, fostering greater accessibility to cultural heritage and delivering personalized visitor experiences.
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Purchase, Sophie. „Applauders and authors: Notes on the profits and losses of audience engagement“. Journal of Arts Writing by Students 6, Nr. 1 (01.06.2020): 27–37. http://dx.doi.org/10.1386/jaws_00012_1.
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Social practices, whether described as socially-engaged, participatory or community-based, share the potential to transform audience members into active participants in an artwork or project. However, the purpose of this public engagement is sometimes in conflict with the private experience of the viewer, constructing a complex relationship between audience, artist and gallery. Beginning by contextualizing the historic position of the audience in relation to the arts, the present article uses this as grounding to unpick elements of the dynamic which exist today. ‘The audience’ investigates the reported social benefits of engaging in the arts, questioning how evidence of these positive effects is reported and judged. This article exemplifies Marcelo Sánchez-Camus’ work with patients in palliative care and Spacemakers’ community-based projects as artworks intended to instigate positive social change. Further, ‘The artist’ explores the relationship between those facilitating these projects and their audience. By breaking down the term ‘audience’ into viewers, participants, collaborators and co-authors, one can use levels of agency to segment those involved and the differing experiences of their involvement. Petra Bauer’s long-term collaborative work with SCOT PEP is used to demonstrate how a group’s agency and stakes within an artwork can be enhanced by building relationships on equal terms. Finally, ‘The gallery’, uses the high-profile examples of Tate Group and Venice Biennale to demonstrate how the more powerful entities in the art world can misrepresent engagement and participation as quantitative markers of success or accessibility. This article ultimately aims to question what motivates the production of social practice and how these entities are important in constituting a successful process and outcome, for audience, artist and institute.
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Bobier, David, Kim Sawchuk und Samuel Thulin. „An Interview with David Bobier of VibraFusionLab“. Canadian Journal of Disability Studies 10, Nr. 2 (08.10.2021): 237–54. http://dx.doi.org/10.15353/cjds.v10i2.800.
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VibraFusionLab founder and director, David Bobier talks about the genesis of his explorations of vibration and accessibility in art-making, his current collaborations, the effects of the COVID-19 pandemic on vibrotactile artwork and issues of access, and the future of VibraFusionLab. He was interviewed by special issue editors Kim Sawchuk and Samuel Thulin on 23 November 2020. Bobier was co-curator of, and participating artist in, the Vibrations exhibition in Montreal, which launched in parallel with the VIBE symposium.
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Park, Gyeongbin, Sunggi Jo, Chanho Jung, Hyojin Choi, Taellim Hong, Jaeho Jung, Changjun Yang, Chao Wang, Jundong Cho und Sangwon Lee. „Design and Evaluation of Multisensory Interactions to Improve Artwork Appreciation Accessibility for the Visually Impaired People“. Korean Society for Emotion and Sensibility 23, Nr. 1 (31.03.2020): 41–56. http://dx.doi.org/10.14695/kjsos.2020.23.1.41.
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Jabbar, Muhammad Shahid, Jitae Shin und Jun-Dong Cho. „AI Ekphrasis: Multi-Modal Learning with Foundation Models for Fine-Grained Poetry Retrieval“. Electronics 11, Nr. 8 (18.04.2022): 1275. http://dx.doi.org/10.3390/electronics11081275.
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Artificial intelligence research in natural language processing in the context of poetry struggles with the recognition of holistic content such as poetic symbolism, metaphor, and other fine-grained attributes. Given these challenges, multi-modal image–poetry reasoning and retrieval remain largely unexplored. Our recent accessibility study indicates that poetry is an effective medium to convey visual artwork attributes for improved artwork appreciation of people with visual impairments. We, therefore, introduce a deep learning approach for the automatic retrieval of poetry suitable to the input images. The recent state-of-the-art CLIP provides a way for multi-modal visual and text features matched using cosine similarity. However, it lacks shared cross-modality attention features to model fine-grained relationships. The proposed approach in this work takes advantage of strong pre-training of the CLIP model and overcomes its limitations by introducing shared attention parameters to better model the fine-grained relationship between both modalities. We test and compare our proposed approach using the expertly annotated MiltiM-Poem dataset, which is considered the largest public image–poetry pair dataset for English poetry. The proposed approach aims to solve the problems of image-based attribute recognition and automatic retrieval for fine-grained poetic verses. The test results reflect that the shared attention parameters alleviate fine-grained attribute recognition, and the proposed approach is a significant step towards automatic multi-modal retrieval for improved artwork appreciation of people with visual impairments.
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Figal, Günter. „Gadamer als Phänomenologe“. Phänomenologische Forschungen 2007, Nr. 1 (2007): 95–108. http://dx.doi.org/10.28937/1000107937.
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Gadamer’s hermeneutics is no discipline or simply a foundation of the Humanities, but addresses the fundamental problem of phenomenology: how things show themselves and can be attained. It does so, however, not in Husserl’s terminology but in its “ontological turn”. In elaborating on the ontology of language, Gadamer equates the accessibility of things and their Being, a move eminent in the “speculative character of language” discussed in the third part of Truth and Method. For Gadamer as well as for Heidegger, ontology is possible only as phenomenology. How things show themselves, however, cannot be understood in relation to an absolute consciousness or understanding Dasein, but, following Plato, from the “evidence of the beautiful” in an hermeneutics of the artwork. Gadamer’s phenomenology thus describes the accessibility of things as the coming to pass of their truth and presence, much as the later Heidegger does in relation to physis and openness. Hermeneutical reflection of the fundamental problem of phenomenology also reveals the displacement in the continuity of coming to pass as the “space between words” opened in the manifold of interpretations.
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Russo, Michele, Luca James Senatore, Raffaella Giuliani und Rocco Bochicchio. „Sculptures for a tactile fruition: The head of Sant’Elena“. Acta IMEKO 13, Nr. 3 (29.09.2024): 1–5. http://dx.doi.org/10.21014/actaimeko.v13i3.1816.
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The creation of physical replicas of statues is not a novel concept; however, it continues to present various aspects worthy of investigation. On one hand, there is the need to optimize digital models for their physical experience while retaining distinctive features. On the other hand, there is the development of a robust pipeline for constructing reliable physical copies concerning morphometrics and materials. Both stages necessitate experimentation and comparisons, allowing for the validation of processes to achieve scientifically accurate results. This article, using the case study of the head of Sant'Elena preserved within the mausoleum of the same name, suggests comparing different processes of physical and digital 3D acquisition and reproduction of the artwork. The goal is to enhance its accessibility for individuals with visual impairments.
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Tidgwell, Tracy, Allyson Mitchell und Deirdre Logue. „This Circle is a Mercle“. Public 35, Nr. 69 (01.04.2024): 100–113. http://dx.doi.org/10.1386/public_00193_1.
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“This Circle is a Mercle” explores the creation of a meadow-sized pentacle terra form artwork conceived by Tracy Tidgwell, Deirdre Logue, and Allyson Mitchell. Originating from a chant at a gathering of queer witches, the term “mercle” symbolizes the miraculous nature of communal connection. The pentacle seeks to reclaim the extraordinary as an accessible, intimate, reflexive, shared experience. It offers pathways and gestures of reconciliation with the land, each other, and our histories of and presence with colonization. The pentacle invites participants into a walking meditation through themes: love, connection, grief, accountability, and healing. Documented through photos and image descriptions, “This Circle is a Mercle” extends its transformative potential beyond its physical form, fostering connections across time and place and embodying principles of accessibility and care.
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Amina G., Kagaba. „Exploring the Aesthetics of Virtual Reality in Art“. Research Output Journal of Education 5, Nr. 2 (04.02.2025): 26–29. https://doi.org/10.59298/roje/2025/522629.
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This paper investigates the evolving role of virtual reality (VR) in contemporary art, focusing on its aesthetic principles and transformative potential. By examining VR’s immersive qualities, interactive elements, and historical development, the study examines how it reshapes artistic practices and audience engagement. Drawing parallels to expanded cinema and traditional art forms, the discussion emphasizes VR’s capacity to reconfigure space, time, and emotional connection within an artwork. Despite its challenges technological limitations, accessibility, and ethical considerations. VR art presents an interdisciplinary framework that bridges fine art, popular culture, and philosophical inquiry. This exploration offers valuable insights for artists, researchers, and students to critically engage with the burgeoning field of VR aesthetics and its implications for the future of art. Keywords: Virtual Reality (VR) Art, Immersive Art, Interactive Narratives, Aesthetic Philosophy, Expanded Cinema.
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Odlum, Nadia Rene, und Morwenna Collett. „The Right to Play: Snakes and Ladders“. Journal of Public Space 7, Nr. 2 (26.06.2022): 243–58. http://dx.doi.org/10.32891/jps.v7i2.1501.
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This case-study will present learnings from the public art project ‘Snakes and Ladders’, a fifty metre, ground plane mural in Sydney Olympic Park, in Sydney’s western suburbs. This was a collaboration between Digby Webster, an artist with Down syndrome, and Nadia Odlum, an artist without disability who specialises in playful, large-scale public art. Snakes and Ladders was commissioned by the Sydney Olympic Parks Authority (SOPA) as a result of a community consultation and co-design process, and was supported by Accessible Arts, the peak body for advancing the rights of New South Wales artists who have disability and/or who are d/Deaf. The result was a public artwork that functions as an inclusive playspace, supporting the right to play for all people who visit or live in Sydney Olympic Park.The key achievements of this project were the meaningful inclusion of an artist with disability in a significant public art project, and the creation of an accessible and inclusive opportunity for play in public space. This case-study focuses on process, including the community consultation process that led to the commission; the role of peak body Accessible Arts in facilitating and guiding the commission; the methods used to ensure accessibility in the artwork design; and the collaborative process between Digby and Nadia, including the steps taken to support Digby’s access requirements and ensure his full participation in the commission from concept to delivery.
Read the full article in accessible html-format here.
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Handayani, Ayu Puji, und Martinus Dwi Marianto. „“Wening”: Towards a Contemplation of Javanese Women’s Self-Identity in The Painting of Dyan Anggraini Rais through an Art Criticism Approach“. Journal of Urban Society's Arts 11, Nr. 1 (09.04.2024): 1–11. https://doi.org/10.24821/jousa.v11i1.11080.
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This article discusses the artwork of Indonesian Woman Artist Dyan Anggraini Rais in The International Art Exhibition Dewantara Triennale 2023 #2 “Social Engagement & Sustainability at Jogja Gallery entitled “wening” as a medium for contemplation of the form of representation of Javanese Women’s self-identity through the Art Criticism approach as a form of appreciation and evaluation of the artwork through reading the interpretation of the visual semiotic code on the artwork. It is found that the Contemplation of Javanese Women’s Self Identity in Wening painting represents the character of Javanese Women’s identity which is seen as a meek figure, good character, nrima, manut, not messing around, but also firm and principled. This is visualized in the symbolization of the meaning of Dewi Sekartaji’s mask. These values have also been exemplified by Kartini’s struggle through women’s emancipation to demand justice for women through the realm of the public sector, especially in the field of education. These noble values should remain inherent and become a living representation for women in contemporary times, where at this time it is very possible for women’s accessibility to be able to enter the public sector to express themselves and build their identity through the various potentials that exist in women to continue to develop and be appreciated. The artwork “Wening” by Dyan Anggraini Rais is a form of self-reflection needed by each individual in this era, especially women, to get to know themselves better and realize the social construction that has shaped them so far. Artikel ini membahas karya seni lukis Perupa Perempuan Indonesia Dyan Anggraini Rais dalam Pameran Seni Rupa Internasional Dewantara Triennale 2023 #2 “Social Engangement & Sustainability di Jogja Gallery yang berjudul “wening” sebagai media perenungan bentuk representasi identitas diri Perempuan Jawa dengan menggunakan pendekatan Kritik Seni (Art Criticism) sebagai bentuk apresiasi dan evaluasi terhadap karya seni tersebut dengan cara membaca pemaknaan terhadap kode semiotika visual pada karya seni lukis tersebut. Hasil penelitian menunjukkan bahwa Kontemplasi Identitas Diri Perempuan Jawa dalam lukisan Wening merepresentasikan karakter jati diri perempuan Jawa yang dipandang sebagai sosok yang lemah lembut, berbudi pekerti luhur, nrima, manut, tidak main-main, namun juga tegas dan berprinsip. Hal ini divisualisasikan dalam simbolisasi makna topeng Dewi Sekartaji. Nilai-nilai tersebut juga telah dicontohkan oleh perjuangan Kartini melalui emansipasi wanita untuk menuntut keadilan bagi kaum perempuan melalui ranah sektor publik, khususnya di bidang pendidikan. Karya seni “Wening” karya Dyan Anggraini Rais merupakan salah satu bentuk refleksi diri yang dibutuhkan oleh setiap individu di era ini, khususnya perempuan, untuk lebih mengenal dirinya sendiri dan menyadari konstruksi sosial yang telah membentuk dirinya selama ini.
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Tretyakova, G. V. „The Use of Fictions in the Course of Teaching Students the Discipline “Foreign Language (Special)”“. Humanities and Social Sciences. Bulletin of the Financial University 12, Nr. 5 (15.06.2023): 150–54. http://dx.doi.org/10.26794/2226-7867-2022-12-5-150-154.
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An important area of language training at the Financial University under the Government of the Russian Federation is its professionalization. This article examines the role of English-language original works in the formation of professional competence of students in the course of their training in the discipline “Foreign language (special)”, despite the fact that many students and teachers consider this inclusion redundant. When selecting fictions, it is necessary to take into account a number of criteria. These include: pronounced professional content, emotional involvement of the reader in the problems raised in the book; genre accessibility of the artwork. The author describes the technology of working with works at the pre-, while- and post-reading stages using the CLIL method and concludes that these works are a unique resource for the formation of a wide range of professionally significant competencies of the future international economist.
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Zimring, Rishona. „Ballet, Folk Dance, and the Cultural History of Interwar Modernism: The Ballet Job“. Modernist Cultures 9, Nr. 1 (Mai 2014): 99–114. http://dx.doi.org/10.3366/mod.2014.0076.
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This essay singles out the Camargo Society's 1931 production of Job as an ‘emblematic’ modernist ballet. Whereas Sacre is emblematic of the pre-war crucible of the modernist avant-garde, Job is emblematic of the culturally reparative interwar years. To approach Job as an emblematic and innovative artwork of interwar modernism, we should locate its genealogy both in the radical, liberatory, experimentalist, and primitivist energies of Sacre, and in the accessibility and identificatory experiences of galvanizing forms of popular dance. Additionally, Job was influenced by the revival of traditionalist forms of participatory dance, which answered a newfound need for reassurance, restoration, and coherence. Job is the product of multiple dance influences in an interwar context, some, but not all, conventionally ‘modernist’. Our understanding of their importance to the cultural history of both the avant-garde and interwar modernism is enhanced if we trace them and appreciate Job's innovative and reparative meanings anew.
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Aubin, Gabrielle, Karine Elalouf, Mariah Hogan, Aviva Altschuler, Kelly J. Murphy und Walter Wittich. „Usability and Accessibility of the ArtontheBrain™ Virtual Recreation Activity for Older Adults With Low Vision Due to Age-Related Macular Degeneration“. INQUIRY: The Journal of Health Care Organization, Provision, and Financing 59 (Januar 2022): 004695802110674. http://dx.doi.org/10.1177/00469580211067446.
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Experiencing visual art can inspire, be an overall positive leisure activity, and has been linked to improved cognition, especially in older adults. Access to artwork in a museum environment can comprise a variety of barriers, including difficulties linked to its visual experience for persons that are visually impaired. The present study explored the barriers and facilitators experienced by 15 older adults (age 65 to 93) living with age-related macular degeneration when using an iPad to access ArtontheBrain™, a virtual art museum recreation experience created by members of this team. Using the Concurrent Think Aloud method, participants were asked to continuously comment on their experiences with the application while being audio/video recorded. Indeed, codes were determined by identifying frequently stated and emphasized ideas or behaviors of participants using the ArtontheBrain™ application. Transcripts underwent thematic analysis and indicated that the main access barriers were linked to control of the contrast, magnification, and the tactile interface on the tablet device. The learn and play activities as well as the text-to-speech feature were identified as facilitators for ArtontheBrain™ engagement. The present findings should also be considered in the larger context of application development, as this study provides insight pertaining to the needs of low vision individuals regarding usability and accessibility.
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Yuniana Cahyaningrum, Cahya Surya Harsakya und Salsabila Putri Septianingrum. „Analysis of the Role of Augmented Reality in Bringing Works of Art to Digital Spaces“. Journal of Intelligent Systems and Information Technology 1, Nr. 2 (26.07.2024): 66–73. http://dx.doi.org/10.61971/jisit.v1i2.77.
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Augmented Reality (AR) has become increasingly popular in the art world as a medium for bringing traditional works of art into the digital space. This research aims to analyze the role played by AR technology in the process of transforming works of art from the physical environment into the digital domain. This approach pays attention to the technical aspects, aesthetics and cultural impact of applying AR in digital art exhibitions. This research method involves literature analysis, case studies of various art exhibitions that use AR, and interviews with artists, curators, and exhibition visitors. Qualitative data was analyzed thematically to identify emerging patterns and trends in the use of AR in artistic contexts. The research results show that AR has great potential to enrich the visitor experience in digital art exhibitions by providing interactive and contextual layers that cannot be accessed through conventional mediums. Additionally, AR can also act as a tool to convey additional narratives, broaden the interpretation of works of art, and increase visitor participation in the creative process. The research also identified several technical and conceptual challenges associated with the use of AR in art, including issues of technological sustainability, accessibility, and artwork integrity. Nonetheless, overall, this research highlights the great potential of AR in bringing works of art into digital spaces and provides valuable insights for the future development of digital art exhibitions.
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Journal, IJSREM. „Webi Draw: Unleashing Creativity with Handcrafted Air Drawings“. INTERANTIONAL JOURNAL OF SCIENTIFIC RESEARCH IN ENGINEERING AND MANAGEMENT 08, Nr. 03 (13.03.2024): 1–11. http://dx.doi.org/10.55041/ijsrem29242.
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Air Canvas emerges as a groundbreaking solution for digital art creation, seamlessly integrating gesture recognition and virtual reality to liberate artists from the constraints of physical tools. Powered by advanced computer vision technology, the system tracks users' hand and foot movements, translating them into invisible strokes on a virtual canvas. With the added dimension of virtual reality headsets, users step into a digital realm where the boundaries between physical and virtual dissolve, providing a unique and immersive creative experience. Key features include instant spot metering, intuitive control over art supplies, and haptic feedback, enhancing the overall artistic journey. Beyond individual expression, Air Canvas fosters collaboration through multi-user support, transcending geographic barriers and democratizing art creation. Accessibility is a priority, with adjustments enabling participation from users with diverse physical abilities. Security measures, including robust encryption, safeguard user data and artwork, ensuring a secure environment for creative exploration. In essence, Air Canvas exemplifies the transformative potential of technology in reshaping artistic processes and offers a glimpse into the future of digital art. Core to Air Canvas is its utilization of computer vision technology, elevating digital art creation by meticulously tracking users' hand movements . Haptic feedback enriches the user experience by adding a tactile dimension to virtual canvas interaction. Multi-user collaboration opens avenues for shared artistic endeavors, unbounded by geographical limitations. Key Words: Air drawing, Interactive Designs, Hand Tracking, Machine Learning, Motion tracking .
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Andrzejewski, Adam, und Andrea Mecacci. „Foreword. Public Art and Aesthetics“. Aisthesis. Pratiche, linguaggi e saperi dell’estetico 15, Nr. 1 (01.08.2022): 3–4. http://dx.doi.org/10.36253/aisthesis-13832.
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The growing number of various interventions and artistic activities in the public sphere has been gaining momentum in recent years. This state of affairs can be seen in at least two – related – tendencies. Rapid urban development, gentrification, constant tension between the private and public spheres, and the need for sustainable growth provide an opportunity for public art to address issues that have not been addressed to the proper extent before. On the other hand, growing discontent, a sense of injustice and the threat caused by painful economic crises, seem to be the inevitable climate catastrophe, social inequalities and – referring to the very current situation – the Covid-19 pandemic and the unimaginably brutal war in Ukraine, make public art one of the ways of political and social manifesto.
Public art, traditionally associated with urban space, more and more often becomes the domain of other than urban environments. Currently, there is no and should not be an equal sign between urban art and public art, although – undoubtedly – the relationship between the two is still somehow strong as many objects of public art are indeed situated in cities. Notwithstanding, at present we are dealing with numerous artistic interventions that pose a question about the reality of non-urban space, the ways of its reception as well as aesthetic evaluation. Non-urban public art is often a meditation on the way of experiencing common space and the relationship between art, community and aesthetics.
One of the particularly interesting topics is the relationship between works of public art and some epistemic and ontological categories. First of all, public art seems to rise a question of accessibility and illegality of art in public spheres. Is an artwork displayed on private property and yet widely accessible to almost everyone a token of public art? Or, is it always the case for public artworks to be commissioned and legal? What is the nature of (potentially) illegal public artworks and their connection to public space? Second, can we move public artworks from the original site of display into another spacer. That is, are they, and if yes, then to what extent, site-specific?
Another interesting issue is the role that public art plays in creating the (aesthetic) atmospheres of given places. Everyone seems to agree that good public art should refer to and respect the atmosphere of a given place, and if it does not do so, it raises objections from the public. Another question is how public art (understood as something that reconfigures the existing space) is able to influence and potentially contribute to the given atmosphere. Even more importantly, one could see how (good) public art is able to help in transforming a space (as a spatial and primarily geographical notion) into a place (understood as something existential in nature).
This certainly highlights the “public” character of the contemporary work of art, but what is it that makes the artwork public? What functions has public art played in recent years in European and non-European countries? How has it been approached by cultural agents, local policy makers, and experts (critics, art historians, and philosophers)? Also, which appreciative practices related to public art have reached prominence?
Researchers shall tackle questions related to the definition, historical and social context and appreciation of art created, performed and resonating within the public sphere in different heterogeneous and homogeneous areas and sites. Particular attention should be dedicated to the different manifestations of public art (e.g. street art, murals, memorials, sculptures and others) often responsible, at least to a relevant extent, for reshaping and redefining urban and non-urban environments also in light of social and political goals.
This issue of “Aithesis” attempts to cross all these topics by proposing different perspectives. Within this conceptual framework move the essays that make up the monographic part: Adam Andrzejewski and Marta Maliszewska on public art in local communities; Andrea Borghini and Nicola Piras on eating local as public art; Tereza Hadravova and Sabrina Muchová on public art as meditation on public time; Mateusz Salwa on community gardens as public art; Andrea Baldini on The Nanjing Massacre Memorial; Marcello Sessa on the public dimension in Allan Kaprow’s theory and Nicola Turrini on the work of Felix Gonzalez-Torres.
A brief focus of three essays (Tamara Tagliacozzo, Nikolaos Tzanakis Papadakis and Attilio Vincenzo Burrone) is devoted to Benjamin and Adorno, while the miscellaneous section closes the issue with papers (Aldo Trucchio, Modesta Di Paola, Saverio Macrì, Nicola Di Stefano) that seek to account for some issues in the current debate.
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Noor, Ramadhan, Tutut Subadyo und Nurhamdoko Bonifacius. „TAMAN WISATA EMBUNG PERSEMAIAN KOTA TARAKAN SEBAGAI DISPLAY ECO ART PARK“. Mintakat: Jurnal Arsitektur 22, Nr. 1 (27.08.2021): 1–14. http://dx.doi.org/10.26905/jam.v1i1.4420.
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ABSTRAK Embung Persemaian merupakan tempat di Kota Tarakan yang potensial menjadi destinasi wisata yang memberikan keuntungan ganda, karena fungsinya sebagai cadangan air baku dan tempat rekreasi. Permasalahannya adalah terjadinya paradok dari kedua fungsi tersebut. Oleh karena itu pengintegrasiannya memerlukan penelitian, desain dan pengelolaan yang komprehensif. Penelitian ini bertujuan untuk : (1) mengidentifikasi karakteristik biogeofisiknya; (2) menganalisis dan membuat sintesis dari potensi dan kendalanya; dan (3) menyusun konsep desain taman wisata sebagai display Eco Art park sesuai preferensi dan ekspektasi masyarakat. Metode penelitian yang digunakan adalah metode analisis spasial dan deskriptif serta metode persamaan kuantifikasi potensi visual. Hasil penelitian yang diperoleh adalah: (1) tapak Embung Persemaian secara signifikan memiliki potensi sebagai destinasi wisata baru dimana faktor pendorong dan penariknya adalah keberadaan dua embung, serta apresiasi dan ekspektasi positif dari masyarakat sekitar k; (2) aspek fisik dan biofisik seperti topografi, bentang visual yang berkarakter khas dan aksesibilitasnya yang mudah dan dalam lingkup urban, menjadi potensial dikembangkan sebagai wadah pemeragaan artwork - land art dan ilmu pengetahuan teknologi, serta konservasi lingkungan. Kesimpulannya Embung Persemaian Kota Tarakan berpeluang dikembangkan dengan pendekatan desain ekologis yang ditujukan untuk memberikan efek psychological distraction agar pengguna secara aktif berinteraksi dengan lingkungan. Kata kunci : embung persemaian, ecoart park, taman wisata, kota tarakan ABSTRACT Embung Persemaian is a place in Tarakan City that has the potential to become a tourist destination that provides multiple benefits, because of its function as raw water reserves and recreational areas. The problem is the occurrence of paradox from the two functions. Therefore integration requires comprehensive research, design and management. This study aims to: (1) identify its biogeophysical characteristics; (2) analyze and make a synthesis of potential and constraints; and (3) drawing up the design concept of a tourist park as an eco art park display according to the preferences and expectations of the community. The research method used is a spatial and descriptive analysis method and equation quantitative visual potential methods. The results of the research are: (1) the Embung Persemaian site has potential as a new tourist destination where the driving and pulling factors are the existence of two reservoirs, as well as positive appreciation and expectations from the surrounding community; (2) physical and biophysical aspects such as topography, visual landscapes with distinctive characteristics and accessibility that are easy and within the urban sphere, have the potential to be developed as a forum for artwork re-enactment - land art and technological science, and environmental conservation. In conclusion, Embung Persemaian is likely to be developed with an ecological design approach aimed at providing a psychological distraction effect so that users actively interact with the environment. Keywords: embung persemaian, ecoart park, tourist park, city of tarakan
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Chan, Chuu Ling, Russell Lee, Lih Ing Goh, Nathanael Hao Kai Chong, Li Neng Lee und Jun-Hong Ch'ng. „Student feedback guides the development of a microbiome card game “No Guts No Glory”“. Asia Pacific Scholar 9, Nr. 3 (02.07.2024): 50–54. http://dx.doi.org/10.29060/taps.2024-9-3/sc3107.
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Introduction: We frequently associate microbes with infection, rarely expounding on their usefulness and importance to healthy development. For humanity to leverage these microbial “super powers”, learners from all backgrounds need to appreciate their utility and consider how microbes could help solve some of the most critical problems we face. However, learners are frequently uninterested or intimidated by microbiology. The card game “No Guts No Glory” was created to engage students by piquing curiosity and encouraging informal learning to change perceptions and advocate the value of microbes to good health. Methods: Undergraduates from various faculties in the National University of Singapore were invited to play and give feedback on accessibility, engagement and self-reported learning gains. Results: The game was well-received across disciplinary backgrounds with positive feedback (5-point scale) on game mechanics being fun (4.17±0.63), attractive artwork (3.83±1.00) and scientific snippets (3.79±1.04), positive re-playability (3.46±0.84), player engagement for those without foundational knowledge in microbiology (3.63±1.04), and usefulness of knowledge taught (3.54±1.10). Areas for improvement evidenced from feedback included unclear instructions (2.74±0.98), limited content taught (2.76±0.93), not generating interest to attend formal microbiome classes (2.88±1.17) and not prompting lifestyle changes (1.98±1.11). Conclusion: This pilot study provided valuable insights from the target demographic, with concrete ideas on how to improve the educational potential of “No Guts No Glory”. Findings further lay the groundwork for the design of future instruments to objectively quantify learning gains from gameplay. Keywords: Game-based Learning, Microbiome, Microbiology, Card Game, No Guts No Glory
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Greiner, Bernhard. „»Dieses ist vor dem Bilde unmöglich.«“. Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 56, Nr. 1 (2011): 65–88. http://dx.doi.org/10.28937/1000106184.
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Im Laufe des 18. Jahrhunderts ändert sich in Deutschland die Zugänglichkeit von Kunst grundlegend: Fürstliche Sammlungen werden dem allgemeinen Publikum geöffnet, nur der Kunst gewidmete Museen werden eingerichtet. Diese Entwicklung zeigt eine bemerkenswerte Parallele zur gleichzeitigen Ausbildung einer philosophischen Ästhetik und deren Konzeption einer Kunstautonomie, der Kant dann eine umfassende theoretische Begründung gibt, derart, dass die Momente des Schönen, die Kant in der Kritik der Urteilskraft herausarbeitet, als konstitutive Merkmale der Kunstmuseen wiedergefunden werden können. Die romantische Bewegung bekräftigt diese Entwicklung in ambivalenter Weise. Die allgemeine Zugänglichkeit von Kunst kommt ihrem Auf heben von Grenzen entgegen, nötigt aber auch, neu zwischen dem Sein des Kunstwerks und dem des Betrachters zu unterscheiden, was gegenläufig zum Anlass einer ›Romantisierung‹ des Kunstwerks wie des Betrachters wird. Das wird an August Wilhelm Schlegels Kunstgespräch Die Gemählde herausgearbeitet, weiter an Friedrich Schlegels Nachricht von den Gemählden in Paris und dem Echo Kleists hierauf in seiner Cäcilienerzählung sowie am Essay über Caspar David Friedrichs Bild Mönch am Meer, der von Clemens Brentano und Achim von Arnim verfasst und von Kleist grundlegend umgearbeitet worden ist.<br><br>The accessibility of art in Germany underwent a fundamental change over the course of the 18th century. Aristocratic collectors opened their doors to the general public, and new museums were dedicated exclusively to art. This development parallels the concurrent development of aesthetics in philosophy and the conception of the autonomy of art. Its theoretical foundation was provided by Kant in his third critique with such completeness that the standards of beauty he worked out emerge as constitutive elements of the art museum. The Romantic movement reinforced the trend in what proved to be an ambivalent way. The general accessibility of art was well suited to its transgression of boundaries, but it necessitated a new, less contingent mode of demarcation between the work of art and the observer. That became an occasion for »Romanticization« of both the artwork and its audience, demonstrated here by August Wilhelm Schlegel’s conversation on art Die Gemählde. It is further elucidated by Friedrich Schlegel’s Nachricht von den Gemählden in Paris and its echo in two texts published by Kleist: The novella Die Heilige Cäcilie oder die Gewalt der Musik and the essay on Caspar David Friedrich’s painting Mönch am Meer that was drafted by Clemens Brentano and Achim von Arnim and radically modified by Kleist.
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Ivsic, Lucija, Jon McCormack und Vince Dziekan. „The point cloud aesthetic: Defining a new visual language in media art“. Virtual Creativity 13, Nr. 2 (01.10.2023): 213–29. http://dx.doi.org/10.1386/vcr_00085_1.
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The development of remote sensing technologies, such as Light Detection and Ranging (LiDAR) and photogrammetry, accompanied by the exponential growth of easy-to-use 3D scanning applications and associated post-processing software, have made point cloud datasets accessible to a widening range of artists, designers and creative technologists. Does this growing interest and increased accessibility indicate the emergence of a new digital art medium? This article offers an analysis of artworks that help define this point cloud aesthetic as a distinctive visual language while contextually situating these contemporary artworks. After a brief introduction to key technologies in scientific and technical terms, we outline the medium’s natural progression, from its use as a recording medium to an expressive one. We briefly address the visual similarity that point cloud-derived imagery has to pointillism, noting the shared reliance upon the science of optics to inform both techniques. An aesthetic analysis of selected artworks follows, focusing upon four key elements proposed to distinguish the artwork’s visual language: (1) subject matter (i.e. derived from a scanned 3D object or environment of the real world), (2) transparency (i.e. the dissolution of objects and environments into data structures), (3) ambiguity (i.e. technical artefacts, ‘glitches’ or ‘mistakes’ generated by the scanning process itself) and finally (4) algorithmic shaping (i.e. data manipulated into expressive or representational forms as moving image, generative visualization, virtual reality [VR]). Through an artist-led exploration of both the technical process and visual systems generated by scanning technologies, this article argues that by using a specific aesthetic, point cloud artworks challenge our way of ‘looking at’ artworks that use scanning technologies and in the process, indicate a new direction for this digital medium.
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Buchanan, Frances, Niccolo Capanni und Horacio González-Vélez. „Distributed aggregation of heterogeneous Web-based Fine Art Information: enabling multi-source accessibility and curation“. Knowledge Engineering Review 30, Nr. 2 (März 2015): 220–36. http://dx.doi.org/10.1017/s0269888914000319.
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AbstractThe sources of information on the Web relating to Fine Art and in particular to Fine Artists are numerous, heterogeneous and distributed. Data relating to the biographies of an artist, images of their artworks, location of the artworks and exhibition reviews invariably reside in distinct and seemingly unrelated, or at least unlinked, sources. While communication and exchange exists, there is a great deal of independence between major repositories, such as museum, often owing to their ownership or heritage. This increases the individuality in the repository’s own processes and dissemination. It is currently necessary to browse through numerous different websites to obtain information about any one artist, and at this time there is little aggregation of Fine Art Information. This is in contrast to the domain of books and music, where the aggregation and re-grouping of information (usually by author or artist/band name) has become the norm. A Museum API (Application Programming Interface), however, is a tool that can facilitate a similar information service for the domain of Fine Art, by allowing the retrieval and aggregation of Web-based Fine Art Information, whilst at the same time increasing public access to the content of a museum’s collection. In this paper, we present the case for a pragmatic solution to the problems of heterogeneity and distribution of Fine Art Data and this is the first step towards the comprehensive re-presentation of Fine Art Information in a more ‘artist-centric’ way, via accessible Web applications. This paper examines the domain of Fine Art Information on the Web, putting forward the case for more Web services such as generic Museum APIs, highlighting this via a prototype Web application known as the ArtBridge. The generic Museum API is the standardisation mechanism to enable interfacing with specific Museum APIs.
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Bogdanova, Galina, und Liana Galabova. „Barriers to the Digital and Physical Accessibility of the Religious Cultural Heritage of Holy Mount of Sofia“. Cultural and Historical Heritage: Preservation, Representation, Digitalization 5, Nr. 2 (2019): 105–24. http://dx.doi.org/10.26615/issn.2367-8038.2019_2_012.
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Accessibility of religious centres and their additional hierotopical natural and architectural spaces, although implied by virtues of responsibility, solidarity, care, charity, and love, does not seem to be internal characteristic priority in confessional specifics of socialisation of private and public places by Eastern Orthodox Christian Church. Management of living heritage (traditional and reconstructed), as well as of tangible (movable and immovable) church cultural heritage, of artworks and art performances according to their artistic value, and of feasts and practices, according to their touristic potential is accomplished mostly in the interest of their liturgical confessional function in the context of Eastern Orthodox Christian subcultural lifestyle in its whole traditional and contemporary global variety. Keywords: Cultural Heritage, Sacred Sites, Accessibility, Special Needs, Tourist Socialisation, Subcultures, Monuments of Culture, Eastern Christian Orthodox Church, Pilgrimage tourism, Holly Mount of Sofia
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Devanny Gumulya. „TRANSFORMING LEARNING EXPERIENCES IN ART AND DESIGN APPRECIATION: A RESEARCH ON E-LEARNING DESIGN AND DEVELOPMENT“. Journal of Research and Innovation In Open and Distance Learning 3, Nr. 1 (29.02.2024): 32–54. http://dx.doi.org/10.33830/jriodl.v3i1.7634.
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The paper focuses on the design and development of an e-learning course in art and design appreciation. Using the ADDIE model, the study explores the integration of the See Think Wonder approach in the e-learning context. The research aims to enhance learners' engagement, understanding, and appreciation of art and design. The study consists of analysis, design, development, implementation, and evaluation of art and design appreciation e-learning. The findings indicate that the See Think Wonder approach positively impacts the e-learning environment by increasing learner engagement, critical thinking skills, and emotional connection to artworks. The approach facilitates active participation, critical discussions, and improved observation and interpretation of artworks. The e-learning platform offers flexibility and accessibility, enabling learners to study at their own pace. Multimedia elements and interactive activities enhance the learning experience. Evaluation results support the effectiveness of the course, with learners recognizing the value of the See Think Wonder approach in enhancing art and design appreciation. It improves their confidence in analyzing artworks and deepens their understanding of artistic elements and principles. The research contributes to the field of art and design education by highlighting the potential of e-learning in transforming learning experiences. It provides insights for educators and instructional designers seeking to enhance art and design education through digital platforms.
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Fang, Liu. „INCLUSIVE DESIGN IN THE ART OF PUBLIC SPACES: CREATING ACCESSIBLE EXPERIENCES FOR THE VISUALLY IMPAIRED“. Scientific and analytical journal Burganov House. The space of culture 21, Nr. 1 (10.01.2025): 42–49. https://doi.org/10.36340/2071-6818-2025-21-1-42-49.
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The accessibility to everyone, including visually impaired people, is one of the key aspects of art in public spaces. Nowadays, the issue of providing blind and low vision people with the opportunity to enjoy artworks is only beginning to be addressed; thus, this practice has not yet become widespread. The physiological and cognitive characteristics of people with visual impairments as well as existing examples of solutions to this issue are analysed in the article. Based on the conducted analysis, a theoretical framework is developed, enabling people with visual impairments to fully perceive art in public spaces.
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Huang, Xindi. „Research on the Aesthetic Education in the Age of Social Media“. Communications in Humanities Research 45, Nr. 1 (27.08.2024): 21–24. http://dx.doi.org/10.54254/2753-7064/45/20240063.
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In the generation of social media, the rapid development of technology has inevitably transformed art, and the way it is consumed, shared, and created. Art has developed a greater focus on aesthetics and beauty, along with the desires of the viewer instead of the artists. The rise of different trends and styles may pressure artists to change their art to conform to these trends, and individuality will have to be sacrificed for the sake of views, likes, and validation from the users. Nonetheless, these platforms have proved to be a great tool for artists, allowing a direct reach to global audiences and engagement in interactive experiences. Communities created online may encourage growth, providing information and opportunities that may have been inaccessible to them previously, lowering the threshold of artistic creation and increasing accessibility. This may allow emerging or discriminated artists to present their work without any traditional barriers. Additionally, social media may stimulate the creative spirit of artists, allowing a variety of sources to draw inspiration from, and creating an environment that fosters experimentation and innovation. Unfortunately, social media is not without its drawbacks on its impact on art. A focus on popularity with likes, follows, and shares may cause a superficial exchange of art. Platforms may usually promote artworks that are easily consumable and visually appealing, disregarding any genuine artworks that may require a deeper reflection. This may additionally exacerbate the commercialization tendency in art, leading to a lack of originality in artworks.
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Melo, Maria J., Márcia Vieira, Paula Nabais, Artur Neves, Marisa Pamplona und Eva Mariasole Angelin. „A Closer Look at Heritage Systems from Medieval Colors to Modern and Contemporary Artworks“. Heritage 7, Nr. 10 (03.10.2024): 5476–94. http://dx.doi.org/10.3390/heritage7100259.
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This microreview, conducted by interdisciplinary teams, examines complex heritage material systems, such as medieval colors and modern and contemporary artworks. Our multi-analytical approach, a significant aspect of our research, is a means to this end. The conservation of works of art is our shared goal, as it ensures their accessibility and the transfer of cultural heritage to future generations. We seek to interpret the damage, usefulness, and innovation of the experimental design in this context. As Jan Wouters rightly points out, “The terminology used nowadays to describe the potential damage to objects caused by analysis should be refined beyond the destructiveness/non-invasiveness polarization. A terminology should include at least degree level intervention (low, medium, high), usefulness, and innovation”. Complementing micro- or sub-micro-sampling with the appropriate analytical methods is crucial, as exemplified in medieval, modern, and contemporary collections studies. Finally, a novel perspective for exploring the information contained in the multiscale heterogeneity of organic historical materials is envisaged, and it includes UV/Visible photoluminescence spectral imaging using a low-intensity ultraviolet synchrotron beam.
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Erdmann-Goldoni, Christin. „Contemporary Art in Public Spaces: Forms of Expression, Social Significance, and Revitalization“. European Public & Social Innovation Review 9 (02.10.2024): 1–20. http://dx.doi.org/10.31637/epsir-2024-867.
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Introduction: This study examines the significance of contemporary art in public spaces, with a specific emphasis on its various manifestations, societal functions, and capacity to revitalize urban environments. It emphasizes the ways in which art enhances aesthetic enjoyment, enhances the overall quality of life, and contributes to economic growth. Methodology: A qualitative study examines the use of sculptures, installations, murals, performances, and digital artworks in urban settings. Illustrative instances of effective art initiatives demonstrate the positive impact of these interventions on public spaces. When considering a project, we carefully evaluate factors such as accessibility, interactivity, the differentiation between temporary and permanent installations, and the influence on community relations. Results: The study finds that contemporary art in public spaces expands cultural access, strengthens social bonds, and raises societal awareness. Interactive and temporary artworks particularly influence the use and perception of these spaces, promoting community identification with the environment. Discussions: Art projects like New York City's High Line and Copenhagen's Superkilen show how aesthetic improvements and cultural activities attract residents and tourists, driving economic benefits. Temporary installations and pop-up art actions offer dynamic experiences that continually draw visitors, aiding economic revitalization. Conclusions: Integrating contemporary art into urban development improves public spaces by fostering cultural experiences and contributing to social and economic growth. Cities should actively support such projects to enhance community sense and urban quality of life.
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Ha, Jungmin. „Digital Archives of Buddhist Cultural Heritage on the Eastern Silk Road: Status and Utilization in Dunhuang, Turfan, and Kucha“. Korean Journal of Art History 323 (30.09.2024): 213–43. http://dx.doi.org/10.31065/kjah.323.202409.008.
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The advancement of digital humanities in the 21st century has significantly enhanced the importance of digital archives in Buddhist art research. The digitization of the extensive and geographically diverse Buddhist cultural heritage along the eastern Silk Road has greatly improved the efficiency and accessibility of scholarly research. This paper examines seminal digital archives initiatives pertaining to the region's Buddhist legacy.Notable examples analyzed in this study include the International Dunhuang Project (IDP); the Database of Medieval Chinese Texts, a collaborative effort between Belgium's Ghent University Centre for Buddhist Studies and Taiwan's Chung-Hwa Institute of Buddhist Studies; the Digital Silk Road projects at Japan's Tōyō Bunko and Ryukoku University; the Dunhuang Academy's Dunhuang Documents Database and Digital Dunhuang platform; and Germany's Turfan Archive and Buddhist Murals of Kucha Archive. These digital archives offer access to high-resolution images and rare materials, encompassing Buddhist scriptures, Dunhuang manuscripts, paintings, and sculptures.These digital archives are crucial for art historical research, contributing to the understanding of original contexts, meanings, and religious functions through the virtual reunification of dispersed artworks. Moreover, these digital archives transcend time and space constraints, facilitating comprehensive research, aiding in cultural heritage preservation, and increasing public accessibility. As these digital repositories continue to expand and interconnect, they are poised to deepen our understanding of Silk Road Buddhist art, paving the way for innovative research approaches and promoting international scholarly cooperation.
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Karambeigi, Pujan. „Scenes of Access, Politics of Difference“. ARTMargins 11, Nr. 1-2 (Februar 2022): 29–49. http://dx.doi.org/10.1162/artm_a_00314.
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Abstract Since the passing of the Americans with Disabilities Act in 1990, museum reformers have struggled to comply with the federal codes for accessibility. This essay accounts for the ambitions and limitations of these debates around access in the museum that were caught in the double bind between public expectation and private market forces, ultimately giving rise to a particular type of bottom-up reform organized around parametric gradients and attitudinal shifts. It does so by juxtaposing manuals for museum educators from the 1990s with artworks by New York City–based artists such as Carolyn Lazard, Jordan Lord, and Park McArthur who all worked with the incorporation of access into their artistic practice during the 2010s. The essay argues that these artistic practices force us to decouple the teaching of access from its narrow focus on shifting individual attitudes and instead belabor the form and content of stories about structural conditions.
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Bernaschina, Diego. „Inclusive urban art: Rethinking public space for functional diversity and active participation“. City Diversity 6, Nr. 1 (03.04.2025): 3173. https://doi.org/10.54517/cd3173.
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<p>The growing importance of urban spaces that facilitate socio-cultural exchange and artistic expression generates a series of current debates on inclusion within urban arts since there is not more emphasis on considering accessibility and the active participation of people and artists with disabilities as fundamental aspects. The main goal is to contribute to the comprehensive development of the theory of analytical thinking through the artistic representation of public space to validate accessibility and functional diversity, which affect inclusive design and promote active participation in urban art. The development of arguments is classified into ⅰ) the evolution of urban art and its relationship with functional diversity; ⅱ) participation of (artists and) people with disabilities in urban art; and ⅲ) urban art as an inclusive and transformative platform. This section discusses the argumentative structure in creative production that urban art is a space for social interaction and the construction of collective identity through art representation and inclusion. It is to deepen this theory of analytical thinking to contribute to the development of artworks in inclusive and accessible public spaces, depending on urban infrastructures. Urban art must have a space where all identities and collectives that are concerned about the restriction towards a more diverse and equitable urban culture for the whole society, independent of people with disabilities in public space, are recognized by the artistic work, challenging ideas about the meaning of being an artist with functional diversity.</p>
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Lee, Jin Woo, und Soo Hee Lee. „User participation and valuation in digital art platforms: the case of Saatchi Art“. European Journal of Marketing 53, Nr. 6 (10.06.2019): 1125–51. http://dx.doi.org/10.1108/ejm-12-2016-0788.
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PurposeThe purpose of this paper is to examine the impact of digital platforms on the contemporary visual art market. Drawing on the theoretical insights of the technology acceptance model, the meaning transfer model and arts marketing literature, the authors conceptualise the role of user participation in creating the meaning and value of contemporary artworks in the online art market.Design/methodology/approachThe authors conduct a qualitative study of Saatchi Art as an instrumental case for theorising. It is an online platform for trading visual artworks created by young and emerging artists. The data for this study were collected through direct observation and documentary reviews, as well as user comments and buyer reviews from Saatchi Art. The authors reviewed 319 buyer comments Art and 30 user comments. The collected data are supplemented with various secondary sources such as newspapers, magazines, social media texts and videos.FindingsThe growth of digital art platforms such as Saatchi Art provides efficiency and accessibility of information to users while helping them overcome the impediments of physical galleries such as geographical constraints and intimidating psychological environments, thereby attracting novice collectors. However, users’ involvement in the process of valuing artworks is limited and still guided by curatorial direction.Research limitations/implicationsThe first limitation of this research is that the data in this research cannot capture interactions between users, though users’ intention to use Saatchi Art is affected by the social influence of other users. Second, this research has not examined artists as users of digital art platforms and their interactions with other types of users. Artists’ intention to use the online platform might be underlined by enhancing their status in the peer group or seeking legitimacy in the field by following other artists and getting recommendations from important referents.Practical implicationsThe outcomes of this research suggest that newcomers in the online art market should acknowledge that users’ intention to use the online art platform is determined by not only technological usefulness of the website but also the symbolic capital of the information provider.Originality/valueUser participation in the online art market is guided by curatorial direction rather than social influence. This confirms re-intermediation of marketing relationships, highlighting the role of new intermediaries such as digital platforms in arts marketing.
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Rauh, Elizabeth. „Experiments in Eden: Mid-century artist voyages into the Mesopotamian marshlands“. Journal of Contemporary Iraq & the Arab World 15, Nr. 1-2 (01.03.2021): 121–33. http://dx.doi.org/10.1386/jciaw_00043_1.
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Following the 1958 Revolution, many Iraqi artists were sent abroad to study in foreign art academies and train in the latest methods – especially printmaking. The popularity and necessity of print in transnational decolonial movements lent printing practices a popular edge while enhancing the artwork’s seeming accessibility and reproducibility. As artists navigated the regional contours of transnational modernism while exploring graphic artmaking methods in the 1960s, several turned to the country’s southern wetland landscapes as new sites and creative worlds. This contribution examines a few of these mid-century experiments with the Mesopotamian marshlands in order to explore how these works bloomed in the liquid nature of printmaking while simultaneously proliferating images of the southern marshlands increasingly under threat in rapidly modernizing twentieth-century Iraq.
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Xing, Yangang, Purna Kar, Jordan J. Bird, Alexander Sumich, Andrew Knight, Ahmad Lotfi und Benedict Carpenter van Barthold. „Developing an AI-Based Digital Biophilic Art Curation to Enhance Mental Health in Intelligent Buildings“. Sustainability 16, Nr. 22 (09.11.2024): 9790. http://dx.doi.org/10.3390/su16229790.
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Biophilic design is a well-recognised discipline aimed at enhancing health and well-being, however, most buildings lack adequate representation of nature or nature-inspired art. Notable barriers exist such as wealth, education, and physical ability restricting people’s accessibility to nature and associated artworks. An AI-based Biophilic arts curation and personalised recommendation system were developed in this study to improve accessibility to biophilic arts. Existing Biophilic research mainly focuses on building design principles, limited research exists to examine biophilic arts and associated emotional responses. In this paper, an interdisciplinary study addresses this gap by developing metrics for Biophilic art attributes and potential emotional responses, drawing on existing Biophilic architecture attributes and PANAS items. A public survey of 200 participants was developed in this study. The survey collected art viewers’ ratings of Biophilic attributes and associated emotional responses to establish statistical correlations between Biophilic attributes and emotional responses. The statistical analysis established a positive correlation between Biophilic attributes and positive emotions. The public survey results show significant positive emotional impacts (p-value <0.05) after exposure to Biophilic images, supporting further research and development of the Biophilic art curation system. This digital curation system employs Computer Vision algorithms (ResNet50) to automate Biophilic art categorisation and generate personalised recommendations. This study emphasises the importance of integrating nature into built environments. It proposes that artificial intelligence could significantly enhance the categorisation and recommendation of Biophilic art, advocating for expanding Biophilic art databases for emotionally responsive art display systems, benefiting mental health, and making art more accessible.
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Trizio, I., F. Savini, A. Giannangeli, S. Fiore, A. Marra, G. Fabbrocino und A. Ruggieri. „VERSATIL TOOLS: DIGITAL SURVEY AND VIRTUAL REALITY FOR DOCUMENTATION, ANALYSIS AND FRUITION OF CULTURAL HERITAGE IN SEISMIC AREAS“. ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W17 (29.11.2019): 377–84. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w17-377-2019.
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Abstract. The paper deals with an interdisciplinary research activity aiming at developing a digital and integrated tool able to collect several data concerning the cultural heritage, and to manage and communicate them to a wide community. The small church of San Menna, located in the hamlet with same name in the municipality of Lucoli not so far from L’Aquila city, was the object of the research. The church has been chosen for its historical significance, its architectural peculiarity and for the valuable artworks that it preserves. Based on a photogrammetric model of the church, also used for the remote analysis of cultural asset (planimetric and evolutionary hypotheses, three-dimensional stratigraphic analysis, etc.) a virtual word usable in Virtual Reality (VR) has been developed. The VR setting allows the accessibility of a digital semantic model with information that can be activated with special interactive hotspots (images, texts and audio), which are able to provide an immersive and all-encompassing experience to the tourist. The potentialities of the same tool in the context of diagnosis and conservation process related to cultural heritage in seismic areas, such as those of the Abruzzi Apennines, have also been investigated through the integration of forms concerning the significant features of the artistic assets surveyed in the construction.
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Dos Santos Coutinho, Bárbara, und Ana Cristina Dos Santos Tostões. „The role of architecture in an engaging and meaningful experience of the physical exhibition“. Sophia Journal 5, Nr. 1 (01.12.2020): 36–53. http://dx.doi.org/10.24840/2183-8976_2019-0005_0001_04.
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While recognising the part that digital media play in bringing about greater accessibility to artworks display and ensuring that they are more visible, this paper argues that the physical exhibition continues to be the primary place for the public to encounter the arts, as it can offer an engaging and meaningful aesthetic experience through which people can transcend their own existence. As such, it is essential to rethink now, in the scope of an increasing digital world, the exhibition in conceptual and methodological terms. For this purpose, the exhibition space must be considered as content rather than container and the exhibition as a work, often with the intentionality of a “total work of art”, rather than just a vehicle for exhibiting artworks and objects. Having the former purpose in mind, this paper proposes a re-reading of the exhibition designs of Frederick Kiesler (1890–1965), Franco Albini (1905–1977) and Lina Bo Bardi (1914–1992) in order to evaluate how their theory and practice can provide useful lessons for our contemporary thinking. The three architects, assuming the role of curators, use only the specific language of an exhibition and remix conventional modes of communication and architectural vocabulary, exploring the natural and artificial light, materials, layouts, surfaces and geometries in innovative ways. They considered the exhibition to be a work of art, overcoming the container/content dichotomy and trigging an intersubjective and self-reflective participation. Kiesler, Albini and Bo Bardi may all be considered visionaries of our time, as they offer a landscape that stimulates our curiosity through a multiplicity of information arranged in a multisensory way, allowing each visitor to discover associations between himself and his surroundings. None of them simply created an opportunity for distraction or entertainment. This perspective is all the more pertinent nowadays, as the processes of digitalising information and virtualising the real may well lead to the dematerialization of the physical experience of art. By drawing upon these historical examples, this paper seeks to contribute to current study on how an exhibition can stimulate the cognitive, emotional and spiritual intelligence of each visitor and clarify the importance of this effect in 21st century museums and society at large.
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Jha, Gautam Kumar. „Indic Elements in Indonesian Arts and Literature: Shared Heritage Between India and Indonesia“. Heritage of Nusantara: International Journal of Religious Literature and Heritage 11, Nr. 1 (28.06.2022): 40–61. http://dx.doi.org/10.31291/hn.v11i1.632.
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Indic-Belt or the Greater India is the geographical region where Bharat’s knowledge tradition spread and influenced the local community in terms of language, culture, religions, practices and social values. Southeast Asia, especially Indonesia has been the region that received more Indic knowledge than any other parts of the world due to the easy accessibility to the land and sea routes. This Indic influence is visible in many art forms and folklore due to a long period of rules of Hindu-Buddhist kingdoms. This study aims at exploring the presence of Indic elements in Indonesian artworks, old buildings and folklore. This paper is based on a qualitative descriptive study in which the data was collected through literature study. The study found that Indian epics such as Ramayana and Mahabharata have greatly influenced the literary tradition in Indonesia, as it was present in the forms of puppets, woodcrafts, painting and batik. In addition, Indonesian-present vocabulary ‘Esa’ (singular) to describe the concept of oneness of God came from the Sanskrit word ‘ish’ which was carried out by the Indic permeate to Indonesia. The study suggests that with such influence of Indic culture and tradition to Indonesia, both Indonesia and India shared similar heritage and hence steps to strengthen the cultural bonds between the two nations need to be built and maintained.
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Chen, Junyi. „The Application and Impact of Plant Dyes in Renaissance Art: Historical Analysis and Cultural Significance“. International Journal of Education, Culture and Society 9, Nr. 6 (25.12.2024): 362–67. https://doi.org/10.11648/j.ijecs.20240906.19.
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Plant dyes played a crucial role in the artistic practices of the Renaissance, possessing both cultural and symbolic significance. As naturally derived pigments, their application demonstrated advancements in craftsmanship and technological innovation, while also shaping artists’ creative paradigms, visual methodologies, and aesthetic frameworks. This study examines key Renaissance artworks to highlight the distinctive characteristics of plant dyes in color application and their innovative visual impacts, emphasizing their roles in oil painting and textile arts. The vivid and emblematic hues of plant dyes were intricately tied to the era’s religious, philosophical, and socio-cultural milieu, often symbolizing themes of nature, spirituality, and social hierarchy. Furthermore, the utilization of plant dyes was deeply connected with advancements in early botanical studies, the expanding art trade, and the development of craft industries like weaving and dyeing. The widespread adoption and enhanced accessibility of plant dyes during the Renaissance underscore the period’s intellectual engagement with the natural world and the resurgence of classical humanistic values. Adopting an interdisciplinary methodology, this research combines insights from art history, cultural studies, and material science to investigate the diverse influences of plant dyes on Renaissance art. This study provides fresh perspectives on the role of plant dyes in shaping artistic practices, uncovering the intricate interplay between art, culture, and the natural world during this transformative epoch.
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Singla, Ashutosh, und Mandeep Gupta. „9NFTMANIA: BRIDGING NFT ART AND DIGITAL CURRENCY WITH 9NM TOKENS“. Scientific Journal of Metaverse and Blockchain Technologies 2, Nr. 1 (2024): 1–6. http://dx.doi.org/10.36676/sjmbt.v2.i1.01.
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9NFTMANIA stands as a prominent NFT brand, renowned for its innovative approach to digital art and cryptocurrency integration. This brand has recently introduced the 9NM token, a digital asset built on the CoreDao blockchain, with a total supply of 1 billion tokens. The 9NM token serves as a vehicle for users to engage in transactions within the 9NFTMANIA ecosystem, providing a bridge between NFT art and digital currency. The 9NM token can be purchased and traded on ICECREAM SWAP, a decentralized exchange platform, offering users liquidity and accessibility to participate in the 9NFTMANIA community. Simultaneously, 9NFTMANIA has launched the 9NFTMANIA NFT collection at NFT marketplace Young parrot, which serves the dual purpose of promoting the NFT brand and facilitating the circulation of 9NM tokens. The 9NFTMANIA NFT collection features a diverse range of digital artworks, each meticulously crafted to showcase the creativity and vision of the brand. These NFTs serve as digital assets that can be bought, sold, and traded on various NFT marketplaces, further expanding the reach and influence of the 9NFTMANIA brand. By leveraging the power of NFTs and digital tokens, 9NFTMANIA aims to create a symbiotic relationship between art and finance, fostering a vibrant ecosystem where artists, collectors, and enthusiasts can interact and transact seamlessly. Through its innovative approach to combining NFT art with the utility of digital currency, 9NFTMANIA is poised to shape the future of the NFT landscape and redefine the boundaries of artistic expression in the digital age.
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Al Hashimi, Sama’a, und Dalal Alsindi. „Optimizing Online Learning Experiences and Outcomes for Hearing-Impaired Art and Design Students“. International Journal of Learning, Teaching and Educational Research 20, Nr. 7 (30.07.2021): 1–22. http://dx.doi.org/10.26803/ijlter.20.7.1.
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As many universities transitioned to online learning during the COVID-19 pandemic, the distance learning environment presented various accessibility challenges for deaf and hard-of-hearing students (DHH). In art and design higher education programs, the transition from face-to-face learning to virtual learning is difficult for students in general, and even more difficult for students with hearing loss. Art and design educators have explored approaches to effectively compensate for these challenges and optimize the distance learning experiences for DHH students. This paper aims to investigate these challenges and attempts to explore the international best practices in distance education for deaf learners. Action research is used as a methodology to guide the professional development of art and design educators on ways to refine and hone their online teaching approaches. Ten DHH students (5 Males and 5 females) participated in the action research for the needs of this study. Their challenges, experiences, preferences, needs and artworks were analysed in an attempt to optimize their online learning outcomes and provide recommendations that will lead to the implementation of effective teaching strategies and the design of appropriate e-learning environments for hearing-impaired art and design students. The preliminary findings of the study revealed that the main challenges DHH students and their instructors faced were communication barriers and misinterpretation of tasks, which led to difficulties in fulfilling the course intended outcomes. The recommendations formulated on the basis of the findings are to adapt the intended learning outcomes and teaching approaches to optimize the learning experiences of the DHH students.
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Orlova, Maria A. „About one group of ornamental motifs in the frescoes of the Assumption Church on Volotovo field“. Journal of Visual Theology 6, Nr. 2 (2024): 325–36. http://dx.doi.org/10.34680/vistheo-2024-6-2-325-336.
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The ornamental repertoire of the fresco decoration program of the Assumption Church in Volotovo is distinguished by its extraordinary richness and diversity. Ornamental friezes with ‘architectural’ antiquicising motifs cover the walls and pillars of the church, in particular curb, bar and console friezes, meanders and geometricized plant forms on wooden ties. All of them are quite traditional for Byzantine painting of the first half of the 14th century when classicizing motifs became popular. However, ornamental compositions at the top of the frescoes, on the window slopes, on the vaults of the choir chambers and on the pre-apse arch, as well as in the altar zone are quite unique for their pronounced oriental flavor. These orna-mental compositions look like copies of Golden Horde toreutics. The Mongol conquests con-tributed to large- scale migration processes and new cultural contacts as well as the emergence of new tastes and fashions. The ethnic composition of the craftsmen working for Mongols was quite diverse, which is evidenced in the forms and ornamentation of their artworks. At the same time in Palaeologan Byzantium we see little interest in orientalizing motifs in the back-ground of traditionally prevailing taste for antiquity. It is remarkable that oriental forms are conspicuously absent from other Novgorod monuments, which are normally classified into the same group as frescoes in Volotovo, namely the Church of the Savior on Ilyina Street and Theodore Stratilates Church. Apparently, the influence of the Golden Horde civilization was so significant, that its ornamental repertoire had a wider circulation, greater accessibility and popularity than we are ready to presume.
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Calise, Anna. „Digital Uprising For Local Communities: The Case Of The Catpc White Cube In Lusanga“. Museological Review, Nr. 27 (24.01.2025): 265–78. https://doi.org/10.29311/mr.vi27.4905.
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In 2017 the CATPC (Cercle d’Art des Travailleurs de Plantation Congolaise) founded the White Cube: an art museum built on reclaimed land, intended to “restore agency, capital, and visibility to plantation communities. From there, CATPC presents a program that not merely offers the public a beautiful spectacle, but it ensures that the utmost positive impact is made – both material (economic) and immaterial (historical memory)” (CATPC website). Since then, the league has been engaged in numerous activist curatorial projects, using analogue and digital means to create a personal artistic and territorial narrative. One project stands out: a series of NFTs, created in collaboration with Dutch artist Renzo Martens, disrupting museum ownership and restitution practices. These artworks, created from images of an original wooden statue symbolizing a local uprising against Belgian tax collectors, carved in the early thirties, represent a concrete way of reconnecting with the league’s heritage, history and future. Starting from this project, the paper researches the impact of digital technologies in strengthening territorial museological projects, discussing how the communitarian grounds of physical museum spaces can be empowered through digital infrastructures. Operating at the intersection between material evidence and virtual accessibility, digital cultural projects can often respond to identitarian meaning making needs, which cannot be met by analogue solutions. Opening the landscape of collective cultural production to a new version of rootedness, through the designs of marginalized and peripheral communities. Across the paper, questions of museum epistemological dominance and decolonial educational paradigms will be addressed, attempting to highlight the crucial characters of these new museological forms, emerging in the cultural field. Keywords: CATPC, Collective Memory, Digital Heritage, NFTs, White Cube.
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Parkhomenko, K, A. „The impact of advanced augmented and virtual reality technologies on the evolution of modern professional art education“. Bulletin of Kazakh National Women's Teacher Training University, Nr. 2 (28.06.2024): 58–69. http://dx.doi.org/10.52512/2306-5079-2024-98-2-58-69.
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The purpose of the article is to consider augmented reality as a method of attracting attention and providing quality education. The article describes the features of augmented and virtual realities. It describes the use of augmented reality (AR) in the learning process of painting students in the study of the discipline "Copying and technique of easel painting". The significance and effectiveness of modern technologies in creating copies of paintings in the museum environment is revealed. AR is a technology that allows combining virtual objects with the real world, creating unique opportunities for learning and forming creative thinking. Mobile devices have gained popularity as an educational tool, and many educational institutions are utilizing them in educational activities to enhance learning. The use of augmented reality as a means of teaching art and comprehending its "depth" is explored. Many museums use virtual reality, augmented reality or interactive exhibits to make the visit more interesting and engaging for visitors. It is important to remember that a successful audience expansion strategy requires constant analysis and adaptation. AR and VR are also pushing the boundaries of art education by providing opportunities to learn and interact with artists and works of art from around the world. Through these technologies, students can visit virtual museums and galleries, study and analyze artworks, and interact with the artists themselves. The use of augmented and virtual reality technologies in education helps to improve the accessibility of learning for all categories of students. Thanks to the ability to study remotely, students can receive quality education regardless of their location or physical limitations. This is especially important for people with disabilities to whom traditional forms of learning may be inaccessible or partially accessible. One of the main advantages of using augmented and virtual reality technologies in art education is the possibility of creating an immersive educational environment. With the help of virtual reality, students can immerse themselves in and interact with the virtual world, allowing them to better understand different art concepts and techniques. It is concluded that augmented reality in the educational process improves the quality of education and allows the student to more easily master and consolidate the educational material.
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Hryhorenko, N., N. Larionov und V. Bredikhin. „RESEARCH OF THE PROCESS OF VISUAL ART TRANSMISSION IN MUSIC AND THE CREATION OF COLLECTIONS FOR PEOPLE WITH VISUAL IMPAIRMENTS“. Municipal economy of cities 6, Nr. 180 (04.12.2023): 2–6. http://dx.doi.org/10.33042/2522-1809-2023-6-180-2-6.
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This article explores the creation of music through the automated generation of sounds from images. The developed automatic image sound generation method is based on the joint use of neural networks and light-music theory. Translating visual art into music using machine learning models can be used to make extensive museum collections accessible to the visually impaired by translating artworks from an inaccessible sensory modality (sight) to an accessible one (hearing). Studies of other audio-visual models have shown that previous research has focused on improving model performance with multimodal information, as well as improving the accessibility of visual information through audio presentation, so the work process consists of two parts. The result of the work of the first part of the algorithm for determining the tonality of a piece is a graphic annotation of the transformation of the graphic image into a musical series using all colour characteristics, which is transmitted to the input of the neural network. While researching sound synthesis methods, we considered and analysed the most popular ones: additive synthesis, FM synthesis, phase modulation, sampling, table-wave synthesis, linear-arithmetic synthesis, subtractive synthesis, and vector synthesis. Sampling was chosen to implement the system. This method gives the most realistic sound of instruments, which is an important characteristic. The second task of generating music from an image is performed by a recurrent neural network with a two-layer batch LSTM network with 512 hidden units in each LSTM cell, which assembles spectrograms from the input line of the image and converts it into an audio clip. Twenty-nine compositions of modern music were used to train the network. To test the network, we compiled a set of ten test images of different types (abstract images, landscapes, cities, and people) on which the original musical compositions were obtained and stored. In conclusion, it should be noted that the composition generated from abstract images is more pleasant to the ear than the generation from landscapes. In general, the overall impression of the generated compositions is positive. Keywords: recurrent neural network, light music theory, spectrogram, generation of compositions.