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Journal articles on the topic 'Creative mask'
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1
Yanuartuti, Setyo. "Building Creative Art Product in Jombang Regency by Conserving Mask Puppet." Harmonia: Journal of Arts Research and Education 16, no. 1 (2016): 30. http://dx.doi.org/10.15294/harmonia.v16i1.6148.
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<p>Building creative industry is one the effort chose to keep up with the ongoing of era development. Traditional art is one of the resource to produce creative art products. Gate Duwur Mask Puppet is a mask performance in Jombang Regency East Java that contains local wisdom. The local wisdom was one of the creativity sources to develop creative art products in Jombang Regency because maintaining Jati Duwur Mask Puppet performance was hard in the middle of the fast society development. The transformation of the source culture (mask puppet) to become the current target culture is one of the efforts made to build creative art. The research on mask dance conservation on mask puppet performance in Jombang was needed. The research method used was an art development through conservation. There were three products of mask dance created as a result of this research. The dances were Gladhen dancers – a couple dance, Mbanmban mask dance – a theatrical group dance, Maduretno-citralanggenan dance – a dance fragment. These mask dance products were a creative realization of a mask performance originated from mask puppet. The community and mask, puppet performer agreed to the development of mask dance to become a more creative art product that could be enjoyed by the young generation.</p>
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Pandey, Dr Anjali. "MASK: A CREATIVE REPRESENTATION OF FUNCTIONAL ART." International Journal of Research -GRANTHAALAYAH 7, no. 4 (2019): 90–96. http://dx.doi.org/10.29121/granthaalayah.v7.i4.2019.878.
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Masks are used all over the world for their expressive power. It is an important part of theatre and rituals. It is generally used to conceal the identity or to transform the character. In India the festival mask are used to represent the deities and mythological character in dance and drama performance as well as in many ceremonial functions, religious and social rituals and in entertainment since ancient time. The evidences of mask could also be seen since prehistoric age. Many tribes of India mask are used in rituals and performances. The masks of different region are distinct and peculiar in size, shape, form, design and material used. In early era the masks were made in simplified form, now some innovative decorations have changed their aesthetic value.
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Dr., Anjali Pandey. "MASK: A CREATIVE REPRESENTATION OF FUNCTIONAL ART." International Journal of Research - Granthaalayah 7, no. 4 (2019): 90–96. https://doi.org/10.5281/zenodo.2653124.
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Masks are used all over the world for their expressive power. It is an important part of theatre and rituals. It is generally used to conceal the identity or to transform the character. In India the festival mask are used to represent the deities and mythological character in dance and drama performance as well as in many ceremonial functions, religious and social rituals and in entertainment since ancient time. The evidences of mask could also be seen since prehistoric age. Many tribes of India mask are used in rituals and performances. The masks of different region are distinct and peculiar in size, shape, form, design and material used. In early era the masks were made in simplified form, now some innovative decorations have changed their aesthetic value.
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Kim, Jooseong. "Creative Energy of Mask in “Anima Hominis”." Yeats Journal of Korea 45 (December 30, 2014): 181–94. http://dx.doi.org/10.14354/yjk.2014.45.181.
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Fiet, Lowell. "Mask-making and Creative Intelligence in Transcultural Education." Caribbean Quarterly 60, no. 3 (2014): 58–72. http://dx.doi.org/10.1080/00086495.2014.11672526.
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Igor Vasil’evich, Ruzhitskiy. "Mask and masquerade in Feodor Dostoevsky’s creative works." Novosibirsk State Pedagogical University Bulletin 5, no. 5 (2015): 38–46. http://dx.doi.org/10.15293/2226-3365.1505.03.
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Hadiyatno and Wiwin Purwinarti. "Transformation of the Profane Meaning of the Cirebon Mask: a Creative Industry." Tsaqofah 21, no. 1 (2023): 1–20. http://dx.doi.org/10.32678/tsaqofah.v21i1.7996.
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This article aims to examine and analyze the transformation of the profane meaning of the Cirebon mask in the creative industry. The mask transformation has significantly changed the economically supporting community, while for the government, the changes have provided foreign exchange for the country. The meaning of profane masks in the creative industry has made a positive trend for artisans; this is in line with changes in the social structure of Cirebon society and globally. Change has made its capital in the practice of cultural products by artisans. But from another perspective, the issue of cultural products in the creative economy concerns the emergence of capitalist practices and their strengths, especially by some artisans who remain loyal to the original value of masks. Departing from this point gave rise to internal turmoil and conflict in the Cirebon mask-supporting community. A paradox, the change issue is very complex, complicated, and full of contradictions. On the other hand, the current existence of masks can indirectly reinforce the sovereign integrity of masks in cultural dynamics. The writing of this article uses a qualitative method to be able to describe and analyze mask changes. The practice of transforming the meaning of masks is divided into three parts, Cirebon Mask, the transformation of profane meaning, and creative industries.
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Byrne, Anne, Marguerita McGovern, and Ciara Bradley. "New technologies and creative practices in teaching groupwork." Groupwork 27, no. 1 (2017): 9–27. http://dx.doi.org/10.1921/gpwk.v27i1.1094.
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Abstract: This paper introduces the use of new technologies and creative practices in teaching groupwork within two applied Irish postgraduate MA courses (Social Work and Community Development). By reflecting on experiences of teaching groupwork through the use of visual biographies, mask making, aural and video podcasting, the authors argue that creative teaching works to integrate experiential, practical and theoretical knowledge of groupwork. A more widespread adoption and evaluation of creative technologies in teaching groupwork to enhance student learning and affirm professional competencies is proposed.Keywords: social work; community development; creative technologies; podcasting; mask-making; visual biographies; group work; groupwork
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Khotimah, Ima Husnul, Slamet Hariyadi, and Bevo Wahono. "PROJECT PENANGANAN SAMPAH MASKER BERBASIS STEM PADA TOPIK PENCEMARAN LINGKUNGAN TERHADAP CREATIVE AND CRITICAL THINKING SISWA SMA." Jurnal Pendidikan Biologi 15, no. 1 (2025): 95. https://doi.org/10.17977/um052v15i1p95-109.
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Abstrak. Penelitian ini bertujuan untuk mengetahui pengaruh model Project-Based Learning (PjBL) berbasis STEM pada topik pencemaran lingkungan terhadap creative and critical thinking siswa SMA. Permasalahan sampah masker di Indonesia sepanjang pandemi COVID-19 jumlahnya meningkat 30% hingga 50%. Sampah masker seringkali ditemukan di TPS dengan volume yang terus bertambah. Masalah sampah masker memerlukan adanya sinergitas berbagai elemen masyarakat dengan peran yang berbeda-beda. Adanya institusi Pendidikan (sekolah) memiliki peran penting dalam memberikan kontribusi besar untuk memulai gerakan penanganan sampah masker. Memadukan model PjBL berbasis STEM efektif untuk menangani masalah sampah masker yang dapat memunculkan creative and critical thinking yang baik. Jenis penelitian ini quasi eksperiment menggunakan dua kelas uji dengan pretest-posttest control group design. Tahapan penelitian dimulai merumuskan masalah hingga menarik kesimpulan dengan hasil penelitian kelas eksperimen memiliki tingkat creative and critical thinking kategori tinggi, sedangkan kelas kontrol kategori sedang. Rekomendasi dari penelitian ini diharapkan model PjBL-STEM dapat diterapkan dalam pembelajaran Biologi agar siswa terlatih keterampilan creative and critical thinking. Abstract. This study aims to determine the effect of the STEM-based Project-Based Learning (PjBL) model on the topic of environmental pollution on the creative and critical thinking of high school students. The problem of mask waste in Indonesia during the COVID-19 pandemic has increased by 30% to 50%. Mask waste is often found in TPS with an increasing volume. The mask waste problem requires the synergy of various elements of society with different roles. Educational institutions (schools) have an important role in making a major contribution to starting a movement to handle mask waste. Combining the STEM-based PjBL model is effective for handling the mask waste problem, which can bring out good creative and critical thinking. This type of research is a quasi-experiment using two test classes with a pretest-posttest control group design. The research stages begin to formulate the problem until drawing conclusions with the results of the experimental class research having a high level of creative and critical thinking, while the control class is in the medium category. Recommendations from this study are expected that the PjBL-STEM model can be applied in learning biology so that students are trained in creative and critical thinking skills.
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陈, 婧. "Nanfeng Nuo Mask Game Chess Cultural and Creative Product Design." Design 09, no. 01 (2024): 1208–16. http://dx.doi.org/10.12677/design.2024.91144.
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Suharson, Arif. "TOPENG KLASIK GAYA YOGYAKARTA DAN KREATIF MODERN KARYA SUPANA PONOWIGUNA KAJIAN FUNGSI, GAYA, DAN STRUKTUR." Corak 7, no. 1 (2018): 43–52. http://dx.doi.org/10.24821/corak.v7i1.2667.
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The culture of mask has been in existence for a very long time ago. A number of archeological studies have found various types of mask since the prehistoric era thousand years ago. The historical data have revealed some important information on the usage of masks in human life in their interaction with the nature. These findings will be beneficial for the improvement of contemporary moment. They will also serve as the scientific reference to identify the materials, process, and development. When we observe carefully, Indonesia is rich of various kinds of traditional culture such as the mask art. Masks have unique characteristics depending on their origin. Masks are created intentionally to represent magical or ritual purposes. They also serve as the decorative or social symbols in the societies. Therefore, the existence of mask art has become a part of social culture. The creative creation of masks has represented the intellectual establishment of the artisans to comply with the ongoing social development. Therefore, we have classic, modern, and contemporary masks as the manifestation of the developing era and the satisfaction of transformative artistic artisans in visual arts. Keywords: mask, culture, creative, creation
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Chaung, Ya-Jane, Chen-I. Chu, and Bao-Yuan Huang. "Research on Self-Developed Children’s Epidemic Prevention Picture Nooks, Related Teaching Aids and Anti-Epidemic Objects." International Journal of Social Sciences and Artistic Innovations 3, no. 1 (2023): 1–7. http://dx.doi.org/10.35745/ijssai2023v03.01.0001.
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Situational picture books and teaching aids were created with epidemic prevention as the main focus of this research. Through the invention patent and design patent, this product was exhibited in the Green Idea International Invention Competition and won the bronze medal. The design concept included “mask knowledge and etiquette”, “healthy eating knowledge”, “correct steps to wash hands”, and “epidemic precautions” to make small anti-epidemic items, namely “mask creative shape stickers”, “mask pocket bags”, and “mask creative shape stickers”. There were small stickers with eyes, mouths, and ears in the shape of small animals designed to be attached to the mask to increase children’s interest and willingness to wear them. The “Mask Carrying Bag” allowed children to store masks and avoid losing them after use. After the production of teaching aids, the quantitative research was completed, and the data from 100 research subjects confirmed reliability and validity through a questionnaire survey. Then, 34 education and security personnel were invited as research subjects to conduct pre-and post-tests. Through the dependent sample t-test, the effectiveness of research and development products was validated. The results showed that situational picture books, related teaching aids, and anti-epidemic objects were significantly better than traditional epidemic prevention teaching aids in improving children’s hand-eye coordination, promoting children’s interpersonal interaction, completing storage, promoting parent-child interaction, and practicality.
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Polner, Bertalan, Péter Simor, and Szabolcs Kéri. "Insomnia and intellect mask the positive link between schizotypal traits and creativity." PeerJ 6 (September 17, 2018): e5615. http://dx.doi.org/10.7717/peerj.5615.
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Background Schizotypy is a set of personality traits that resemble the signs and symptoms of schizophrenia in the general population, and it is associated with various subclinical mental health problems, including sleep disturbances. Additionally, dimensions of schizotypy show specific but weak associations with creativity. Given that creativity demands cognitive control and mental health, and that sleep disturbances negatively impact cognitive control, we predicted that positive, impulsive and disorganised schizotypy will demonstrate stronger associations with indicators of creativity, if the effect of mental health, insomnia, and intellect are statistically controlled. Methods University students (N = 182) took part in the study. Schizotypy was assessed with the shortened Oxford-Liverpool Inventory of Feelings and Experiences (sO-LIFE). Creative achievements were measured with the Creative Achievement Questionnaire (CAQ), divergent thinking was assessed with the ‘Just suppose’ task, and remote association problem solving was tested with Compound Remote Associate (CRA) problems. Mental health was assessed with the 12-item version of the General Health Questionnaire (GHQ-12), and insomnia was examined with the Athens Insomnia Scale (AIS). Verbal short term memory was measured with the forward digit span task, and intellect was assessed with the Rational-Experiential Inventory (REI). Multiple linear regressions were performed to examine the relationship between creativity and schizotypy. Indicators of creativity were the dependent variables. In the first block, dimensions of schizotypy, age, gender and smoking were entered, and in the second block, the models were extended with mental health, insomnia, verbal short term memory, and intellect. Results Positive schizotypy positively predicted real-life creative achievements, independently from the positive effect of intellect. Follow-up analyses revealed that positive schizotypy predicted creative achievements in art, while higher disorganised schizotypy was associated with creative achievements in science (when intellect was controlled for). Furthermore, disorganised schizotypy positively predicted remote association problem solving performance, if insomnia and verbal short term memory were statistically controlled. No dimension of schizotypy was significantly associated with divergent thinking. Discussion In line with previous findings, positive schizotypy predicted real-life creative achievements. The positive effects of disorganised schizotypy might be explained in terms of the simultaneous involvement of enhanced semantic priming and cognitive control in problem solving. We speculate that the lack of associations between divergent thinking and schizotypy might be related to instruction effects. Our study underscores the relevance of sleep impairment to the psychosis-spectrum, and refines our knowledge about the adaptive aspects of schizotypy in the general population.
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Landy, Robert. "The mask and the mirror." Dramatherapy 45, no. 1 (2024): 137–40. https://doi.org/10.1386/dj_00010_1.
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After retiring from the field of drama therapy in 2018, I resumed my career as an artist, making theatre, music and visual art. Since that time I have focused most on creating both actual and digital images through photography. In February 2024, I completed an exhibition of 60 images launched on an international platform, Art without Boundaries, in March 2024. The exhibition concerns a series of photographs I created in the late 1970s of people wearing masks that I made on my face. The early photographs were very much about my fascination with masks as self-portraiture. I paired the old images with new ones of new masks of my face on some of the same people 45 years later, and some new people. In this creative contribution, I present my artist statement for the exhibition and then one photograph that was in the show. And below that is a playful image visually expressing an idea that has been with me for more than fifty years – that a human being is multiplicitous and that, like an actor onstage, has the potential to play many roles.
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Alia, Rahmah, Jumrodah Jumrodah, and Sondra Swestyani. "INNOVATION OF PEEL-OFF FACE MASKS MADE WITH SPIRULINA (Arthospira platensis) TOWARDS A CREATIVE ECONOMY." BIOLINK (Jurnal Biologi Lingkungan Industri Kesehatan) 11, no. 2 (2025): 209–21. https://doi.org/10.31289/biolink.v11i2.13768.
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Facial skin care, especially facial masks, has become part of the modern lifestyle, as the younger generation becomes increasingly aware of the importance of a healthy appearance. One natural ingredient that is widely used in skin care products is Spirulina platensis, a microalgae that is rich in nutrients and has various benefits, such as antioxidant, anti-inflammatory and antibacterial. This research aims to develop a peel off facial mask made from Spirulina platensis which is equipped with essential oil to improve the quality of skin care which is a major contribution to the development of natural cosmetics so that it can become an attractive alternative in the cosmetics industry. The method used in this research is an experimental method with five mask treatments. The results of the ANOVA test showed that there were significant differences in the aroma, color and consistency of the mask. Masks with Vanilla essential oil (F3) are preferred because of their more pleasant aroma, while masks with Sakura essential oil (F4) have the most preferred color. This research shows the potential of Spirulina platensis as an active ingredient in peel-off masks, which can be an attractive alternative in the cosmetics industry, as well as supporting a creative economy based on natural ingredients.
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Tyulin, Dmitry. "David Bowie and T.S. Eliot: Addressing the Problem of Poetic “Persona”." Philology & Human, no. 3 (September 20, 2023): 129–36. http://dx.doi.org/10.14258/filichel(2023)3-10.
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The article clarifies some features of the poetic system of the creative heritage of the 1970s. British poet and musician David Bowie (1947-2016), focusing on the concept of "persona" in the context of his work. "Persona" as a term is used in the article, being borrowed from the teachings of the German psychologist C. Jung, where it is understood as a social mask that hides the vulnerability of the individual. When applied to Bowie's work, the term "persona" implies an artistic mask, a special type of poetry realization, in which a creative person and a character are combined. Bowie's poetry, expressed through the unique "persona" at the center of his album cycles of the 1970s, is supposed to show signs of T. S. Eliot's impersonality. The article proves that Bowie was familiar with Eliot's poetry and could use his idea of "impersonality" of poetry in his work.
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Park, Insoo, Jihoon Kim, Byeongyu No, Juwon Lee, and Jingyu Jang. "A Study for the Creative Succession of Mask Dance Movements - Focusing on the Dismantling and Reorganization of Basic Dance Movements -." National Gugak Center 47 (April 30, 2023): 221–50. http://dx.doi.org/10.29028/jngc.2023.47.221.
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This paper was initiated to find a way in which one can freely express movements of mask dance, which had been fixed since it was designated as the cultural heritage. To this end, it focused on the way of performing in nongak (percussion ensemble music)--the movements of performers are relatively free even after being designated as a national intangible cultural heritage--in order to apply it to mask dance.
 First, this study selected Goseong ogwangdae, Yangju byeolsandae nori , and Gangnyeong talchum, which have relatively many dance movements among the basic dance of mask dance designated as national intangible cultural heritages.
 Then, by analyzing the movements of basic dance in each region, it dismantled them by dividing them into upper and lower body parts just like the way of performing in nongak , and combined those dismantled movements of the three regions in various angles. In this process, it confirmed that each movement was classified based on beat, and classified and organized the dismantled movements as 'one-beat movement', 'two-beat movement', 'four-beat movement', or 'fixed movement' according to the beat. It also confirmed that the combination of the upper and lower body movements was made based on beat. Lastly, utilizing the results, this study created new dance movements by reorganizing the upper and lower body movements of mask dances in the three regions from various angles, and produced and presented a performance type of basic dance.
 Through this process, this study confirmed that mask dance performances can be produced through dismantling and recombining, just like nongak. As the process of combining the dismantled dance movements gradually became familiar, it became possible to combine them in accordance to detailed subdivided beats. In addition, it was possible to design systematic education by producing the movements of mask dance according to the level of the students. It is hoped that the results of this study will be shared with more performers, leading to systematic classes and creative work using them.
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Satriadi, Satriadi, Muh Saleh Husain, and Muh Kurniawan Adikusuma Wiharja. "Konektor Masker Hijab." Nuansa Journal of Arts and Design 5, no. 2 (2021): 32. http://dx.doi.org/10.26858/njad.v5i2.23902.
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The partner of this community partnership program is the Islamic Knowledge Group of the Babussalam Mosque, Tirta Mas Complex, Makassar. The problems is: (1) The activities carried out by the Babussalam Taqlim Assembly group are recitation, Maulid, Isra' Mi'raj, and social gatherings, (2) There are no training activities that are easy and can directly have a selling value in Islamic Knowledge Group of the Babussalam Mosque, and (3) Lack of knowledge and insight in being creative to produce hijab mask connectors. The goal is the ability to make hijab connectors independently with various forms of variation. The methods used are lectures, demonstrations, discussions, questions and answers, and companion partners. The results achieved are (1) partners know about making hijab mask connectors, (2) partners have skills in designing hijab mask connectors with various variations, (3) Increase partner productivity during a pandemic to make hijab mask connectors
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Karyono and Tubagus Mulyadi. "Karyono POLA-POLA GERAK PADA TOPENG BARONGAN KERTAS SEBAGAI INOVASI PENGEMBANGAN TRADISI KERAKYATAN." PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT 2 (January 27, 2020): 233–40. http://dx.doi.org/10.33153/semhas.v2i0.126.
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Barongan Blora is one of the communal arts that developed in the Blora, Rembang and Grobogan areas.Barongan dish was originally a spiritual form of its presence, not paying attention to the aesthetic elementsmore focused on its function. Barongan movement patterns cannot be separated from the Barong mask whichhas been made from wood which is the shape of a large mask. This greatly affects the patterns of movementin the Barong dance.The innovation of the Barongan mask as a form of developing a populist tradition has analternative in making masks made from paper. This is done to get the possibility of movement patterns relatedto the development of innovation in the Barong populist arts tradition. The creative engineering effort of theBarongan mask by utilizing waste paper becomes an alternative to enrich the work of dance moves related tothe lighter mask properties as a large mask performance. Replacing wood media with paper in mask making.With the hope of facilitating the game techniques in accordance with the character of Barong and silat movementsas if kanuragan.The purpose of this study is to look for basic concepts about Barongan movementpatterns that are technically related to paper mask media. The research method used is rise up by practice,the artistic method, the creation of art based on research.The results of the study showed that the movementpatterns were worked on as the basis for developing the Barongan Kertas mask dance. Research outputstargeted at this study are; Intellectual Property Rights and National Journal.
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Budimansyah, Budimansyah, Dimas Pratomo, and Indry Damayanti Rahma. "Economy Rempowerment for The Creative Community's Economy: A Case Study of Mask Connectors Business After Pandemic." Jurnal Abdimas 27, no. 2 (2023): 88–92. http://dx.doi.org/10.15294/abdimas.v27i2.47549.
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World Health Organization (WHO) explains that Coronaviruses infect the respiratory system. All activities are limited. Anxiety and panic certainly landed in the hearts of business people when the economic crisis spread to almost all countries in the world due to COVID-19. Consumers will only purchase primary goods and tend to avoid purchasing secondary, let alone tertiary goods, thus having an impact on the demand (supply) side. The slowing pace of the Indonesian economy will affect various economic sectors. So the author wants to tell the people in Pahoman Village, Enggal District, Bandar Lampung City, about the creative economy, so that it can be profitable and provide benefits to other people. The methods used are based on community service, such as socialization/counseling, training, mentoring, and interviews. This writing concludes that making mask connectors will still open up business opportunities after the pandemic. By conducting this training, people can be creative and develop a creative economy so that it can help generate ideas for entrepreneurship.
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MUHAMMADJONOVA, GO'ZALXON MUHAMMADJONOVNA, and SHOHISTA IMYAMIN QIZI ERGASHEVA. "WOMEN'S LITERATURE AS A " GENDER MASK" - TO THE QUESTION OF CONSTRUCTING A CREATIVE SUBJECT." Results of National Scientific Research 2, no. 5 (2023): 5–11. https://doi.org/10.5281/zenodo.7933852.
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The subject of the study is such an aspect of " gender studies" as the construction of a " gender mask". It provides coverage of the controversy surrounding the term "women's literature", in order to show the shortcomings of the existing definitions and, having corrected them, formulate our own definition of this term. The relevance of the article is determined by the fact that “ gender studies” is one of the most relevant types of modern scientific activity, and scientific novelty is determined by the insufficient study of the phenomenon of constructing the male “I” in female writers and the female “I” in male writers. The following conclusion is made in the work: since the attitude towards the creative woman was most often negative, one of the ways out for the writers was to hide behind a male mask. However, the woman still retained her "feminine intonation", manifested in the special specific characteristics of the " feminine text".
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Homann, Lisa. "Controversy and human agency in ‘portrait masks’ from the studio of André Sanou." Africa 88, no. 4 (2018): 768–801. http://dx.doi.org/10.1017/s0001972018000463.
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AbstractThis article examines artist André Sanou's individual agency in the invention and popularity of ‘portrait masks’ in and around Bobo-Dioulasso, Burkina Faso. Rather than depicting abstract qualities of unseen natural forces, common among masks in this region, Sanou created the first portrait mask headpiece in a stylized but highly naturalistic manner, using a photograph as reference. It clearly depicted a specific human being, redefining the mask as a portrait of the deceased whom it honoured. Sanou's act gave rise to a wildly popular mask genre. However, portrait masks have aroused debate about the (im)propriety of naturalistic representation in masquerade. I argue that the features that make André Sanou's portrait mask genre so popular – celebrating specific individuals who are visually identifiable by their physiognomic likeness – are the same ones that make the genre controversial. The controversy illustrates the messy business of reconciling creative differences with societal values that individual artists, patrons, organizers, performers and audience members who serve as gatekeepers of cultural institutions maintain and at times negotiate. As the portrait mask genre demonstrates, masquerade is not necessarily a steadfast, uncompromising institution. Individuals can unsettle or disrupt accepted mask practice, even as they broaden its scope and invigorate audiences.
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Malanchuk-Rybak, Oksana, and Terra Neidorf. "The mask-image of Fripulia became one of Fedir Tetyanych." Bulletin of Lviv National Academy of Arts, no. 53 (December 27, 2024): 69–76. https://doi.org/10.37131/2524-0943-2024-53-7.
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Fedir Tetyanych is a Ukrainian nonconformist artist who realized himself in various fine art types and genres. One of the artist&apos;s creative hypostases is the image-mask of Fripulia, involved in numerous phantasmagoric actions on the streets of Kyiv, in particular on Andriyivskyi Uzviz, from the late 1970s to the 21st century. The public perceived the artist as an eccentric and a street philosopher. However, in these actions Fedir Tetyanych formed a peculiar artistic and philosophical concept, in particular, he interpreted the idea of infinity, the boundlessness of the universe through artistic means. The mask-image of Fripulia became one of Fedir Tetyanych&apos;s personal identifiers. The article analyzes Fedir Tetyanych&apos;s artistic practices, in which the image mask of Fripulia was central. The thesis about Fedir Tetyanych&apos;s visionary view of art creation is substantiated.
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Warnken, Julia, and Swapna S. Gokhale. "Classifying the Evolving Mask Debate: A Transferable Machine Learning Framework." Journal of Computer-Assisted Linguistic Research 6 (November 23, 2022): 1–18. http://dx.doi.org/10.4995/jclr.2022.17493.
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Anti-maskers represent a community of people that opposes the use of face masks on grounds that they infringe personal freedoms. This community has thoroughly exploited the convenience and reach of online social media platforms such as Facebook and Twitter to spread discordant information about the ineffectiveness and harm caused by masks in order to persuade people to shun their use. Automatic detection and demoting of anti-mask tweets is thus necessary to limit their damage. This is challenging because the mask dialogue continuously evolves with creative arguments that embed emerging knowledge about the virus, changing socio-political landscape, and present policies of public health officers and organizations. Therefore, this paper builds a transferrable machine learning framework that can separate between anti-mask and pro-mask tweets from longitudinal data collected at four epochs during the pandemic. The framework extracts content, emotional, and engagement features that faithfully capture the patterns that are relevant to anti-mask rhetoric, but ignores those related to contextual details. It trains two ensemble learners and two neural network architectures using these features. Ensemble classifiers can identify anti-mask tweets with approximately 80% accuracy and F1-score from both individual and combined data sets. The invariant linguistic features extracted by the framework can thus form the basis of automated classifiers that can efficiently separate other types of falsehoods and misinformation from huge volumes of social media data.
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Shtefyuk, Valeria. "Actress training by Michael Saint-Denis: improvisation in a mask." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 267–74. http://dx.doi.org/10.32461/2226-2180.39.2021.238738.
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The purpose of the article is to analyze the features of the theatrical and pedagogical activity of M. Saint-Denis and to reveal the specifics of the acting training "Improvisation in a mask" in the context of students' work with a neutral and characteristic mask. Methodology. The biographical method was applied (to cover the director's and pedagogical activity of M. Saint-Denis); the typological method (for identifying and determining the main features of the theatrical pedagogy of M. Saint-Denis in general and the methods of teaching the actor developed by him in particular); the method of comparative analysis (for the study of the training "Improvisation in a mask" with neutral and characteristic masks), etc. Scientific novelty. Studied the actor's training "Improvisation in the mask" of the leading theater director and teacher of the twentieth century. M. Saint-Denis and revealed the features of the work of student actors with a neutral and characteristic mask; analyzed the theatrical and pedagogical activities of M. Saint-Denis as a standardizer of theatrical practice in the context of the developed and implemented curricula for acting in drama schools founded with his assistance (London Theater Studio, Old Vic School, Strasbourg Higher School of Dramatic Art, Canadian National Theater School and the Juilliard Drama Department). Conclusions. M. Saint-Denis's holistic model of acting training is formed on the basis of an organic combination of a physical approach, in which the body learns to turn into an absolute expressive instrument, an internal approach, the so-called realistic characterization, and a comprehensive understanding of the style in the context of mastering physical, vocal, intellectual, creative and emotional skills, allows student actors to master all kinds of drama. The study revealed that the mask was considered by M. Saint-Denis as a temporary working tool that helps to reduce feelings of insecurity and awkwardness, enhance the ability of internal self-awareness, enhance expression and experimental activity, develop concentration of attention, self-control of a student-actor and a harmonious path from the inception of physical qualities. character to their external dramatic expression. The student's task is to fill the mask, to give it life and feelings. If the actor who animates the mask is convincing and sincere, it feels like he has his own facial expression. The aim of the training is: to eradicate cliché-manners; teach students to develop and release creative impulses; to teach students to work on classical roles or roles of the "big style" (according to M. Saint-Denis).
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Osmukhina, O. Yu, and R. A. Kadeeva. "Mask as a Technique of Auto-interpretation in A. Kabakov's Novel "The Last Hero"." Art Logos – The Art of Word 2, no. 27 (2024): 155–69. https://doi.org/10.35231/25419803_2024_2_155.
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The article is devoted to the analysis of A. A. Kabakov's novel "The Last Hero". A. Kabakov's novel in the aspect of the correlation between the author and the hero. The research is undertaken to reveal the functions of the author's mask as an auto-interpretation in the novel space. The authors apply comparative-historical, socio-cultural methods, as well as the method of holistic analysis of the artwork. It is established, firstly, that the technique of the author's mask becomes a means of self-identification of the author of the real within the textual space: Kabakov consciously erases the boundaries between the author "real" and the hero-mask - the writer "dissects" himself and his character in the process of multi-stage self-reflection, demonstrating the "underside" of the creative process. Secondly, the author "real" deliberately makes his text a field of literary play and creative experiment, appearing in the novel simultaneously in several hypostases: in the role of the author and in the role of the character, split in turn into several separately existing personalities-masks. Thirdly, the intertwining of the speech of the author, the narrator and the hero generates the permeability of the boundaries of the author's consciousness and the consciousness of the character, emphasizing the appearance of their delimitation in the text of the novel. Therefore, the subject of the image is the author's reflection on the fate of the artist himself.
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Cohen, Simon. "The Music Behind the Mask: Rossini’s Uncanny Salon." Nota Bene: Canadian Undergraduate Journal of Musicology 14, no. 1 (2021): 83–114. http://dx.doi.org/10.5206/notabene.v14i1.13399.
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Despite receiving scant attention from scholars and performers, Rossini’s Péchés de vieillesse (Sins of Old Age), written between 1857 and 1868 for his private salon, have a unique and expressive stylistic language. In these works, the composer gives musical voice to the uncanny discourses that emerged around the idea of his “creative death.” This paper establishes how Rossini’s return to composition functioned as a musical “exhumation,” with his compositional activities functioning as a site for broader discourses about disease, aging, and death in nineteenth-century France. Close readings of visual depictions of Rossini by Eugène Delacroix and Antoine Etex shed light on changing attitudes toward the composer, which coincided with broader aesthetic shifts taking place at the time. The tensions engendered by Rossini’s precarious status as both living and dead, and his nostalgic relationship to the past, constitute a kind of doubleness that can be heard in his late compositions. Bringing together cultural history and musical analysis, I show that the privacy of Rossini’s salon gave rise to music with unique signifying potential that has not yet been duly acknowledged.
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Seo, Sang Gyu. "A study of Methodologies in Creative Mask Play - Focusd on ‘Lefty’ & ‘Fly, Hawk!’ -." Journal of acting studies 10 (December 31, 2017): 1–18. http://dx.doi.org/10.26764/jas.2017.10.1.
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Larchenko, Victoriya. "A Fashionable Mask: Branded Value Proposition during the Coronavirus Pandemic." European Journal of Medicine and Natural Sciences 4, no. 1 (2021): 21. http://dx.doi.org/10.26417/158ibe43i.
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The coronavirus pandemic has changed not only the social, economic, political spheres of nations, but also fashion industry, having to cancel fashion shows. Fashion brands started offering value proposition changed under new conditions to give the value to their customers with changing needs. A lot of fashion brands follow their pandemic sustainable business strategy to help medical staff with masks, gowns, and sanitizers for free, to donate to medical organizations, coronavirus research in Universities’ laboratories that also increases their EVA. A mask takes mostly two functions – utilitarian and emotional, i.e. new technological and fashionable part of the mask production/consumption. There are creative ideas in mask making by technological brands like a self-cleaning mask, collaborations of high-tech companies and fashion industry representatives like hijab-wearing masks for Arab medical female staff, fashion brands creating fashionable masks by using double sustainable business strategy like cutting masks from vintage clothes and donating from proceeds, popculture brands creating masks with their branded themes, fashion brands creating cloth masks made of the latest trends, artists creating unique masks using artisan techniques, a technological and fashionable mix like face-recognition masks, and also politicians setting up mask trends like the Slovakia president to have the mask matching the look in color or Japanese Chief Cabinet Secretary to promote indigenous print on a mask. The fashion brand analysis shows that the value proposition is based on value increase in EVA during the coronavirus pandemic, because they understand the necessity of sustainabile business strategy to gain the longer-term customer loyalty.
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Wulandari, Try, Shafiera Lazuarni, and Putri Arista. "PELATIHAN PEMBUATAN MASK STRAP KEPADA MAHASISWI SEBAGAI PELUANG BISNIS DIERA PANDEMI." SELAPARANG: Jurnal Pengabdian Masyarakat Berkemajuan 6, no. 1 (2022): 417. http://dx.doi.org/10.31764/jpmb.v6i1.7901.
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ABSTRAKPandemi covid-19 yang masih berlangsung hingga saat ini bahkan muncul varian terbaru, yaitu varian omicron. Hal ini tentunya harus disikapi dengan lebih bijak dan berhati-hati. Sayangnya, banyak masyarakat yang justru mulai teledor menjalankan protokol kesehatannya seperti menggunakan masker dengan tidak benar. Seringnya menurunkan masker ke dagu, mendorong tim PkM memberikan pelatihan pembuatan strap mask kepada para mahasiswa/i. Strap mask ini diharapkan dapat menjadi solusi agar masyarakat tidak lagi menurunkan maskernya di dagu. Selain itu, strap mask ini juga dapat menjadi peluang bisnis yang dapat dicoba oleh para mahasiswa. Target pelatihan ini adalah mahasiswa yang sedang berkuliah secara daring sehingga mahasiswa juga dapat menjadi lebih produktif dan kreatif meskipun hanya di rumah saja. Pelatihan berjalan dengan lancar dan semua mahasiswi dapat mengikuti pelatihan dengan baik. Hasil strap mask yang dibuat oleh para mahasiswa juga sudah baik dan sesuai dengan harapan tim PkM. Oleh karena itu, besar harapan tim PkM bahwa para mahasiswa dapat meneruskan pelatihan ini dan menjadikan strap mask ini untuk menambah penghasilan mereka. Kata kunci: pandemi; peluang bisnis; strap mask ABSTRACTThe COVID-19 pandemic, which is still ongoing today, has even appeared in the latest variant, namely the Omicron variant. This of course must be addressed more wisely and carefully. Unfortunately, many people are starting to neglect their health protocols, such as using masks incorrectly. Frequently lowering the mask to the chin, prompted the PkM team to provide training on making strap masks to students. This strap mask is expected to be a solution so that people no longer lower their masks on their chins. In addition, this strap mask can also be a business opportunity that students can try. The target of this training is students who are studying online so that students can also be more productive and creative even if only at home. The training went smoothly and all female students were able to take part in the training well. The results of the strap masks made by the students were also good and in line with the expectations of the PkM team. Therefore, the PkM team hopes that the students can continue this training and use this strap mask to increase their income. Keywords: business opportunity; pandemic; strap mask
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Mohan, Urmila. "Co-creating and Bricolage Among Mask Stitchers in the US Pandemic." KnE Social Sciences 10, no. 2 (2025): 63–70. https://doi.org/10.18502/kss.v10i2.17878.
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Stitchers, both trained and untrained in the design process, made tens of thousands of cloth masks during the COVID-19 pandemic in the US. In doing so, they demonstrated how collaboration takes place, shaping relationships between diverse people as well as the way the pandemic was experienced. This chapter is based on an ethnography conducted between 2020 and 2022 where the different working processes and exchanges of skills and knowledge between designers and non-designers were observed. A shift in identity was apparent with formally-trained designers from the costume, theater, and film industry learning to work with uncertainty and lack of material inventory. Simultaneously, those stitchers who lacked formal design training were exposed to it by working with designers. That is, during a time of crisis, designers’ bricoleur capacities were apparent while their collaborators became quasi-designers. Such processes were co-creative means of leveraging solutions for unprecedented problems. Keywords: bricolage, co-creation, collaboration, masks, pandemic
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Shang, C., C. Vargas, A. Schramm, and J. Sckolnik. "SU-GG-T-523: A Creative Measure to Ensure the Accuracy of Removable SRS Mask." Medical Physics 37, no. 6Part24 (2010): 3307. http://dx.doi.org/10.1118/1.3468920.
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Hidajat, Robby, and Guntur. "Local Spiritual Belief: Creative Posture of Mask Dancer-Maker in Malang of East Java Province." Anastasis. Research in Medieval Culture and Art 10, no. 1 (2023): 111–25. http://dx.doi.org/10.35218/armca.2023.1.05.
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Susanti, Santi, Sri Mulyani, Tita Rosmiati, and Sopi Maulida. "Pemberdayaan Remaja Sehat di Masa Pandemi Covid-19 Melalui Program Saung Remaja Sehat (SAREAT)." Jurnal Pelayanan dan Pengabdian Masyarakat (Pamas) 7, no. 4 (2023): 308–16. http://dx.doi.org/10.52643/pamas.v7i4.2949.
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The COVID-19 pandemic has had a significant impact on various aspects of life, including the health and welfare of teenagers in various regions, including Cikunir Village, Singaparna District, Tasikmalaya Regency. This condition requires creative and innovative steps to ensure that the younger generation continues to have access to accurate health information, emotional support, and the skills needed to maintain the health of themselves and the community around them. One alternative to make this happen is through skills training in making hand sanitizer and mask connectors for entrepreneurship. This community service aims to improve the ability of teenagers in Cikunir Village in the skills of making hand sanitizers and mask connectors so that they become productive teenagers in filling their free time positively. This youth empowerment was attended by nine youth posyandu cadres. The training implementation time is one month. The results of the training showed that the teenagers were able to make hand sanitizer and mask connectors and form associations SAREAT/Healthy youth group. The youth's production is marketed to village communities and peers using two methods, namely selling directly and online. The conclusion of youth empowerment during the Covid-19 pandemic the teenagers were able to make hand sanitizer according to WHO standards and mask connectors and shapes SAREAT namely a place for youth creativity in the field of entrepreneurship.
 Keywords : covid-19, hand sanitizer, masks, empowerment, teenagers
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Maciejko, Laura A., Jean M. Fox, Michelle T. Steffens, et al. "Rural and urban residents’ attitudes and preferences toward COVID-19 prevention behaviors in a midwestern community." PLOS ONE 18, no. 6 (2023): e0286953. http://dx.doi.org/10.1371/journal.pone.0286953.
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Rural populations are more vulnerable to the impacts of COVID-19 compared to their urban counterparts as they are more likely to be older, uninsured, to have more underlying medical conditions, and live further from medical care facilities. We engaged the Southeastern MN (SEMN) community (N = 7,781, 51% rural) to conduct a survey of motivators and barriers to masking to prevent COVID-19. We also assessed preferences for types of and modalities to receive education/intervention, exploring both individual and environmental factors primarily consistent with Social Cognitive Theory. Our results indicated rural compared to urban residents performed fewer COVID-19 prevention behaviors (e.g. 62% rural vs. 77% urban residents reported wearing a mask all of the time in public, p<0.001), had more negative outcome expectations for wearing a mask (e.g. 50% rural vs. 66% urban residents thought wearing a mask would help businesses stay open, p<0.001), more concerns about wearing a mask (e.g. 23% rural vs. 14% urban were very concerned about being ‘too hot’, p<0.001) and lower levels of self-efficacy for masking (e.g. 13.9±3.4 vs. 14.9±2.8, p<0.001). It appears that masking has not become a social norm in rural SEMN, with almost 50% (vs. 24% in urban residents) disagreeing with the expectation ’others in my community will wear a mask to stop the spread of Coronavirus’. Except for people (both rural and urban) who reported not being at all willing to wear a mask (7%), all others expressed interest in future education/interventions to help reduce masking barriers that utilized email and social media for delivery. Creative public health messaging consistent with SCT tailored to rural culture and norms is needed, using emails and social media with pictures and videos from role models they trust, and emphasizing education about when masks are necessary.
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Koroleva, Vera V. "The ‘Hoffmann’s complex’ in the Dramatic Trilogy of A. Blok (A Puppet Show, King on the Square and The Unknown Woman)." Transcultural Studies 15, no. 2 (2019): 112–27. http://dx.doi.org/10.1163/23751606-01502003.
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The article examines the ‘Hoffmann’s complex’ in the lyrical trilogy of A. Blok: pictorial and musical harmony (synesthesia of arts); romantic irony and grotesque; the problem of mechanization of life and a human, which is revealed in the images-symbols of the mask, a doll, a puppet and a double. Synesthesia is an important part of Blok’s style, manifested in the special lyricism of the works, which helps to reveal the subtle soul of the lyrical hero. The problem of mechanization of life and human in the Blok’s dramas is revealed in the images of a mask, a doll, a double, which express one of the sides of the poet’s contradictory soul and appear as a reaction to the imperfection of the modern world. Another embodiment of the mechanization of life and a human is the problem of merging the mask and the actor, as a result of which the actor loses his true face. Important elements of Aleksandr Blok’s lyrical style in the trilogy are rooted in the tradition of Hoffmann’s romantic irony and the grotesque, which get a new semantic content in dramas: the creative irony of Hoffmann transforms in a devastating irony in Blok’s works.
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O’Rourke, Cassandra. "648 The Negative Impression Makes a Positive Impact." Journal of Burn Care & Research 42, Supplement_1 (2021): S181—S182. http://dx.doi.org/10.1093/jbcr/irab032.298.
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Abstract Introduction Providing timely and appropriate pressure to prevent/address hypertrophic scarring for burn survivors is an ongoing challenge. From time of measurement to obtaining a custom compression garment can be several weeks requiring creative solutions to providing interim pressure, particularly in the pediatric population and even more challenging for a facial burn scar. Historically, fabric custom garments were ordered, then with the advancement of silicone lined materials, clear facial masks could be fabricated. This process started with taking a plaster cast of the survivors’ face, frequently using sedation to allow for optimal fitting, but sedation can change the tone of the facial muscles adding to the challenge. With the advancements in technology, less invasive, more accurate, and more timely fabrication of face masks is possible. Methods A 3D picture was taken of a 14-month-old pediatric burn survivor with hypertrophic scarring on the face. This image was uploaded to a 3D printer and a positive print (facial surface down) was completed. The positive print was used to make an alginate mask and plaster was poured to create a casting of the positive printed face. A check mask was pulled from this positive plaster cast (+ mask). This check mask was too large for the patient’s face. To have a better fitting mask, another approach to the mask fabrication was completed. From the same 3D picture, a negative print (facial surface up) was completed. Plaster was poured directly into this negative print to create a casting of the negative printed face. A check mask was pulled from this negative plaster cast (- mask). Both check masks were fit to the patient to assess for accuracy of fit and estimation of required adjustments for optimal fit. Results There was a significant difference in the fit of the two masks created from the same 3D picture. The mask pulled on the positive casting was too large. The required adjustments to have the mask fit properly to provide appropriate compression to the hypertrophic scarring on the face would have been extremely difficult and time consuming to complete. The mask pulled on the negative casting fit well and only required small adjustments to ensure adequate pressure would be provided to the focused areas of hypertrophic scars on the face. Conclusions With advances in technology, 3D photography partnered with 3D printing allow for significant improvement in the accuracy of fitting facial masks, improve timeliness of compression, and improve the patient experience in the process of obtaining a facial mask.
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Choi, Munsil. "A theory for the conceptual composition of ‘Creative Yeonhui’: Focusing on the background and current status of formation." Korean Society of Human and Nature 4, no. 1 (2023): 127–52. http://dx.doi.org/10.54913/hn.2023.4.1.127.
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The objective of this research is to highlight the necessity of conceptualizing and establishing the concept of ‘Creative Yeonhui(연희)’ as an initial step in the study of creative Yeonhui. Therefore, it can be seen as a study with an exploratory and experimental discussion character for the full-scale study of creative Yeonhui. Recognizing the problems and limitations that the ambiguity and breadth of the existing traditional Yeonhui concept are difficult to explain the creative Yeonhui, the creative Yeonhui can understand the formation background relatively clearly compared to the traditional Yeonhui, and reviewed the background and current status of the creative Yeonhui. Accordingly, the background and current status of creative Yeonhui have been examined. By considering the background of formation, it is used as the scope of the current situation, and as a representative review of the creative activities of groups from the Yeonhui Department of Korea National University of Arts and the percussion Yeonhui Department of Chung-Ang University, the traditional Yeonhui mainly used by these groups are as follows. Pungmul(풍물), Kukdoogaksi Noleum(꼭두각시놀음. puppet play), shaman music, Namsadang play(남사당놀이), and Talchum(탈춤. mask dance). Also, depending on the educational background, the creations appeared to be of a different nature. Through this, it has been observed that depending on how the factors influencing the formation of creative Yeonhui are interpreted, there can be variations in the conceptualization and categorization of creative Yeonhui in comparison to the existing framework of Yeonhui research. An example of a creative Yeonhui concept that can be presented through this study is to consider Samulnori(사물놀이), which has become an important opportunity for Yeonhui history, and the establishment of Yeonhui in the university. this is how to set up categories and identify components. Starting with this study, I hope that follow-up research from various perspectives for the composition of the concept of creative Yeonhui will continue, and I hope that the discourse will be formed and there will be a place for discussion and consensus for the establishment of the concept of creative Yeonhui
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Paustian, Megan Cole. "Laughing through the Mask in Invisible Man." MELUS: Multi-Ethnic Literature of the United States 49, no. 3 (2024): 69–94. https://doi.org/10.1093/melus/mlae041.
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Abstract What is the relationship among Blackness, whiteness, and laughter? For Ralph Ellison, race is at the heart of “the American joke”; his phrase suggests that humor is somehow fundamental to the American story. It is certainly fundamental to his novel, Invisible Man (1952). While much scholarship has addressed the novel’s humor—how it makes readers laugh—the laughter of characters has been underexplored. From start to finish, the narrative is punctuated with scenes of laughter, which crop up at every major turning point in the unnamed narrator’s journey. While he encounters laughter that is racist and belittling, he also reckons with its creative, communal forms. By tracing his journey through the trope of laughter and placing the novel in conversation with theories of Black humor, this essay reveals how the laugh operates as a strategy of defense and defiance, at once protective and resistant. Like the mask of meekness, exemplified by the narrator’s grandfather, Black laughter is a technique for navigating the tensions and threats of American life. It can cloak aggression and ease white fears, but it communicates more ambiguously than the mask, leaving observers in a state of uncertainty. The novel suggests that Black laughter flirts with power in a way that unsettles white consciousness and expands the mask’s terrain of resistance. Zeroing in on laughter itself reveals its role in day-to-day navigations of the color line while also adding nuance to more general theories of humor.
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Saad Al-Mukhta, Farah. "AutomatedFace Mask Detection Using Pretrained CNN." Al-Nahrain Journal of Science 26, no. 4 (2023): 80–87. http://dx.doi.org/10.22401/anjs.26.4.12.
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In recent times, the use of face masks has emerged as a critical subject. Automated facial mask detection can curb the transmission of the COVID-19 virus and SARS-VIRUS within communal areas by identifying individuals who are not utilizing masks. In this work, a pretrained Convolutional Neural Network (CNN) with model ResNet-50, which is initially trained on the Image Net competition data, is utilized. This model is augmented with a 300-linear layer network and fine-tuned on a dataset that comprises 1,000 facial images. During the evaluation of the validation dataset consisting of approximately 800 face images, the model achieved an impressive 99% accuracy. Its primary objective is to discover if an individual is wearing a facial mask using a cropped image of their face. By leveraging such advanced technologies, we can contribute significantly to public health and safety measures in the ongoing battle against COVID-19 and SARS-VIRUS.Keywords:CNNCOVID-19Face Mask Detection (FMD) SARSDOI: 10.22401/ANJS.26.4.12*corresponding author email: farah.saad@nahrainuniv.edu.iqThis work is licensed under a Creative Commons Attribution 4.0 International License1.Introduction COVID-19 (CO ronaVIrus Disease of 2019) and SARS(Severe Acute Respiratory Syndrome) are two viral respiratory illnesses caused by coronaviruses, both of which have had important global impacts on public health [1]. These contagious diseases emerged in different time frames but share similarities in their mode of transmission and clinical presentation, prompting the search for effective non-pharmaceutical strategies to mitigate their spread [2]. One essential strategy to reduce the transmission of respiratory droplets, which can carry the viruses, is the widespread adoption of face masks in public spaces. However, monitoring and ensuring compliance with mask-wearing practices in crowded areas can be challenging, particularly in densely populated regions. Automatic face mask detection (FMD) systems powered by advanced technologies offer a potential solution to this challenge [3]. Convolutional Neural Networks (CNNs) and deep learning techniques have demonstrated remarkable success in computer vision tasks, including image classification [4]. In this context, utilizing pretrained CNN models, such as ResNet-50, has shown promising results for identifying faces wearing or not wearing masks. In this work, we explore applying a pretrained ResNet-50 CNN model fine-tuned on a well-balanced dataset of 12,000cropped photos of faces with and without masks. The goal is to create an accurate and reliable FMD (Face Mask Detection) system that can automatically identify individuals who are not wearing masks in public spaces. Through this work, we aim to contribute to the expanding realm of research on FMD as a crucial tool to prevent the spread of respiratory illnesses. The successful implementation of such technology has the ability to play a significant role in safeguarding public health, improving safety measures, and aiding in the ongoing battle against COVID-19 and SARS in various community settings.
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Probosiwi, Probosiwi, Fery Setyaningrum, Dyah Lyesmaya, Lilik Binti Mirnawati, Desiana Muryasari, and Dian Effendi. "Visualization of Krebet Wood Mask in Visual Arts Learning For PGSD Students: A Study of Creativity Habitus." Sekolah Dasar: Kajian Teori dan Praktik Pendidikan 32, no. 2 (2023): 119. http://dx.doi.org/10.17977/um009v32i22023p119-129.
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This article is research results about making Krebet “batik” masks in groups carried out by PGSD students. Research’s aims to describe the application of Pierre Bourdieu's concept of habitus and Wallas' creative process. Research methodology is qualitative and case study approach. Data collection techniques are observation and document review. Data analysis techniques are data collection, data reduction, data presentation, drawing conclusions and verification. The subjects researched were PGSD FKIP UAD students, while the objects were Krebet wooden batik masks. Results show that: (1) students applying habitus concept in the practice of making “batik” wooden masks (knowledge, understanding, perceptions, values, and actions) that are internalized as part of society in Yogyakarta; (2) students were integrated habitus concept in the stages of the creative process: (a) the preparation stage which is carried out by forming groups and discussing the theme of “batik” motifs; (b) incubation stage, search for inspiration forms explored of motifs following “batik” objects; (c) illumination stage on the surface of the mask with "canthing" and liquid wax according to the design; d) verification stage by testing new visualization ideas in making designs on paper and transferring them to the wood directly based on the basic elements of fine art.
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Tsaregradskaya, Tatiana V. "“Russian trace” in the work of Harrison Birtwistle." Contemporary Musicology, no. 4 (2019): 100–120. http://dx.doi.org/10.56620/2587-9731-2019-4-100-120.
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British composer Harrison Birtwistle from the very beginning of his composer`s career sought creative impulses from his ancestors, among which the most evident influence was produced by Russian composer Igor Stravinsky. But Stravinsky wasn`t the only composer of Russian origin important for Birtwistle as a source of inspiration. Another artist of Russian origin also became a powerful source of creative ideas for British composer. His name is Peter Zinoviev and this person became the first musician in Great Britain who began to produce experiments with electronic instruments and electronic music. His aristocratic roots (Zinoviev belongs to the aristocratic families of Bobrinskiys, Dolgorukovs, Zinovievs) played considerable role in his attitude to the complex problems of electronic music which were solved with genuinely Russian invention talent and courage. Besides working with technical problems like sound amplification, sound effects, sound engineering, scenic space development, Zinoviev also had global influence on Birtwistle: he produced two librettos (one – for chamber cantata “Nenia: The death of Orpheus; and the second – for grand opera “The Mask of Orpheus”). In these librettos musician and engineer showed as an erudite, profound interpreter of ancient mythology and at the same time as an artist with a taste for postvodernist ideas. “The Mask of Orpheus” became the last project of Zinoviev and Birtwistle. Nevertheless the impact of Peter Zinoviev is evident in a number of Birtwistle`s compositions which belong to so-called “Orpheus-project”, for example, in opera “The Corridor”.
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Bhattacharya, Ananya, Madhura Dutta, and Charlotte Waelde. "Designing Heritage-Sensitive IP and Marketing Strategies for ICH-Based Creative Economy." Culture. Society. Economy. Politics 1, no. 2 (2021): 72–87. http://dx.doi.org/10.2478/csep-2021-0012.
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Abstract Can intellectual property and marketing strategies help bearer communities to make a sustainable living from their intangible heritage? This is the question that underpinned a British Academy-funded interdisciplinary research project that comprised researchers from the UK, France, and Italy, and an NGO from Kolkata. This contribution describes the development and implementation of heritage-sensitive intellectual property and marketing strategies (HIPAMS) with two communities in West Bengal – Chau dancers and Chau mask-makers who were at the heart of the project. Using methods including forum theatre and walking stories, the research team and the communities’ highlighted challenges faced by the communities in making a sustainable living from their heritage skills and developed ways in which HIPAMS could be used by the communities to their advantage while retaining a focus on the importance of the heritage. The initial evaluation shows how significant these strategies can be for heritage communities, however small and incremental the advances made.
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O’Rourke, Cassandra. "639 Face Masks - The Negative Impression Makes a Positive Impact." Journal of Burn Care & Research 41, Supplement_1 (2020): S164—S165. http://dx.doi.org/10.1093/jbcr/iraa024.260.
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Abstract Introduction Providing timely and appropriate pressure to prevent/address hypertrophic scarring for burn survivors is an ongoing challenge. From time of measurement to obtaining a custom compression garment can be several weeks requiring creative solutions to providing interim pressure, particularly in the pediatric population and even more challenging for a facial burn scar. Historically, fabric custom garments were ordered, then with the advancement of silicone lined materials, clear facial masks could be fabricated. This process started with taking a plaster cast of the survivors’ face, frequently using sedation to allow for optimal fitting, but sedation can change the tone of the facial muscles adding to the challenge. With the advancements in technology, less invasive, more accurate, and more timely fabrication of face masks is possible. Methods A 3D picture was taken of a 14-month-old pediatric burn survivor with hypertrophic scarring on the face. This image was uploaded to a 3D printer and a positive print (facial surface down) was completed. The positive print was used to make an alginate mask and plaster was poured to create a casting of the positive printed face. A check mask was pulled from this positive plaster cast (+ mask). This check mask was too large for the patient’s face. To have a better fitting mask, another approach to the mask fabrication was completed. From the same 3D picture, a negative print (facial surface up) was completed. Plaster was poured directly into this negative print to create a casting of the negative printed face. A check mask was pulled from this negative plaster cast (- mask). Both check masks were fit to the patient to assess for accuracy of fit and estimation of required adjustments for optimal fit. Results There was a significant difference in the fit of the two masks created from the same 3D picture. The mask pulled on the positive casting was too large. The required adjustments to have the mask fit properly to provide appropriate compression to the hypertrophic scarring on the face would have been extremely difficult and time consuming to complete. The mask pulled on the negative casting fit well and only required small adjustments to ensure adequate pressure would be provided to the focused areas of hypertrophic scars on the face. Conclusions With advances in technology, 3D photography partnered with 3D printing allow for significant improvement in the accuracy of fitting facial masks, improve timeliness of compression, and improve the patient experience in the process of obtaining a facial mask. Applicability of Research to Practice The availability of technology can allow burn survivors to receive compression for facial scars in a faster, more accurate, and patient friendly manner to allow for early intervention to prevent and/or improve facial hypertrophic scarring. From the 3D picture to mask fitting can be as little as 48–72° as compared to several weeks with historical methods.
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Yanuartuti, Setyo, Anik Juwariyah, Peni Puspito, and Joko Winarko. "Adaptation of The Wiruncana Murca Play in The Wayang Topeng Jatiduwur (Jatiduwur Mask Puppet) Jombang Performance." Harmonia: Journal of Arts Research and Education 20, no. 1 (2020): 58–72. http://dx.doi.org/10.15294/harmonia.v20i1.24807.
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Wiruncana Murca play is the only Panji play in the Mask Puppet Performance in Jatiduwur Jombang which still performances its dramatic structure after the Mask Puppet is extinct. Wiruncana Murca play in the Wayang Topeng Jatiduwur Performance in the past was used for nadzar rituals. When the Mask Puppet was rebuilt, the Wiruncana Murca play was performed in a different context, the Panji Festival. This study aims to analyze the transformation process of the Wiruncana Murca play with an adaptation approach. The scope of this research includes text and context. The research method is descriptive qualitative analytical. The data collection used is observation, interview, and document study. The analysis uses an analytical descriptive method. The results performance that the adaptation of Wiruncana Murca in the Wayang Topeng Jatiduwur performance was carried out because there was a different contextuality from the ritual cultural context of the Jatiduwur village community to the context of the National Panji Festival performance in 2017 in Kediri. The transformation was carried out by the stages of identification of story ideas, the embodiment of the text, the embodiment of the dramaturgy, and staging. Adaptation to the process of intellectual transformation is based on a new contextual approach using fidelity or maintaining the originality of the source. The original uniqueness of the existing art is still used as a source of inspiration or a source of reference used as material to develop new performance products. The adaptation of the Wiruncana Murca play in the context of the Wayang Topeng Jatiduwur performance at the 2017 National Panji Festival performances the creative process of mask artists. While the result is a manifestation of a new product from Mask Puppet in Jatiduwur Jombang.
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Osmukhina, Olga Yu, and Regina A. Kadeeva. "The specifics of the embodiment of the author’s mask in the novel by V.P. Aksenova “Burn”." Neophilology, no. 1 (2023): 121–31. http://dx.doi.org/10.20310/2587-6953-2023-9-1-121-131.
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The specifics of the functioning of the author’s mask in the novel by V.P. Aksenov “Burn”. The author’s mask is considered as a means of positioning the author in the text. The concepts of “author’, “narrator”, “author’s mask” were used for the analysis. For the first time, the phenomenon of the author's mask in the novel “The Burn” was subjected to a holistic study. As a result of the study, it was found that in the novel by V.P. Aksenov, thanks to the branched system of author’s masks, a complex and multidimensional narrative space is created. Through the mask as an image of a “possible other”, the prose writer comprehends the topics provocative for the aesthetics of late socialism: the relationship of the artist with the authorities, the homeland, the existence of a creative personality in a totalitarian state. The system of Apollinarievich’s author’s masks demonstrates not only the possible options for the personal fate of the “author of the real”, but also the behavioral strategy for the survival of a thinking and thinking intellectual within the framework of a totalitarian system. The author’s mask of Tolya von Steinbock is introduced by Aksenov into the novel in order to fully reflect his own “Magadan” childhood, to present a complex psychological self-portrait. The key means of creating author's masks are, firstly, numerous autobiographical parallels and correspondences generated by the total reflection of the prose writer about himself; secondly, steady transitions from the first person to the third and, on the contrary, confusing the reader and turning the text into an experimental space of a literary game. The research materials and general conclusions can be used in university courses in the history of Russian literature of the twentieth century, special courses and special seminars dedicated to the work of V. Aksenov. Since the author’s mask is becoming quite a common technique in postmodern literature, the methodology used is quite applicable to comprehend the prose of the 1990s–2000s, where there is a play with the author’s “voices” (V. Pelevin, V. Sorokin, A. Kabakov and others.).
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Ackerman, Ada. "Redonner visage aux gueules cassées. Sculpture et chirurgie plastique pendant et après la Première Guerre mondiale." RACAR : Revue d'art canadienne 41, no. 1 (2016): 5–21. http://dx.doi.org/10.7202/1037548ar.
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During the First World War, French, British, and US sculptors dedicated their creative practice and knowledge to making masks for soldiers with facial injuries, thus allying art and science in an attempt to restore the most essential aspect of the soldiers’ identities. As artistic resources were mobilized to counter the destructive effects of the war, this new kind of sculpture engendered myths and fantasies about the artists’ power. This article argues that ultimately, though, the practice of mask-making was used as a strategy that benefitted the preservation of the prevailing economic and social order.
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Rohmah, Siti, and Nurdiana Tri Mulatsih. "LOCAL WISDOM-BASED CREATIVE ECONOMY DEVELOPMENT STRATEGY TO ACHIEVE COMPETITIVE ADVANTAGE IN THE ERA OF THE INDUSTRIAL REVOLUTION 4.0 IN GUNUNGKIDUL REGENCY." Jurnal REP (Riset Ekonomi Pembangunan) 7, no. 2 (2022): 221–43. http://dx.doi.org/10.31002/rep.v7i2.370.
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The Creative Economy prioritizes one's ability to create a product in the form of goods or services, both arts and crafts followed by creative ideas, culture, and technology which will later become a new concept to contribute to national economic growth. Gunungkidul Regency has excellent creative economic potential, namely culinary, fashion, craft, performance art, and film. Bobung hamlet, Putat village, Patuk district has a center for making batik wooden masks where the creations are made with superior local wisdom patterns. The study was conducted using the Mix Methods by examining objects by collecting quantitative and qualitative data and using a SWOT analysis tool (Strength, Weakness, Opportunity, Threat). This analysis involves internal and external elements of strengths, weaknesses, opportunities, and threats. The results of the research show that by employing both internal and external analysis, it is found in the quadrant I position, called aggressive strategy. An aggressive strategy emphasizing production on quality and innovation of local consumer products by empowering or employing local products produced by their own region and developing triple helix by involving government, intellectuals, and business as a collaboration partner, which is the strongest strategy in the batik wood mask craft.
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Last Fitriani, Hellen, Sukma Erni, and Salmiah. "Pelatihan Membuat Masker dengan Hiasan Sulam Benang untuk Ibu-ibu dan Remaja Putri di Tengah Pandemi Covid-19." Tasnim Journal for Community Service 2, no. 1 (2021): 38–45. http://dx.doi.org/10.55748/tasnim.v2i1.58.
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This community service activity aims to: 1) develop the knowledge possessed by the servant; 2) find solutions to problems that exist in society; 3) create creativity that is useful for members of the Pekanbaru community; and 4) making the basic material of broken cloth into a variant of creative masks that can improve the family's economy. The strategic targets in this service are the mothers and young women of the Pekanbaru Riau community. In order to achieve this, the servant takes the following steps: 1) contacting Mrs. Rima from the Creative Children's Gallery as a resource person; 2) share information with the public for those who are willing to take part in the training; 3) create a Wa Group to share information about training; 4) conduct meetings via zoom meeting; 5) explanation of making embroidered cloth masks through creative videos shared by resource persons; 6) the community is given the opportunity to make embroidered cloth masks according to the video stages that are distributed through their respective homes; 7) people are given 1 week to make embroidered cloth masks; 8) the community shares their work through Group Wa; and 9) resource persons provide feedback and direction on the work of mothers and young women. The results of the service produce creative mask variants that can improve the family's economy from the basic ingredients of broken cloth.
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Medvedieva, Alla. "Technology of Transformation as a Peculiar Form of Reincarnation of the Actor." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 1, no. 1 (2018): 18–27. https://doi.org/10.31866/2617-2674.1.2018.140832.
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Purpose of the study. In the stage artist’art, the professional predominant task is to show the characterization of personage from the first minutes of appearing on the screen, where the viewer’s first acquaintance with the action hero at the beginning of the estrade room is the main expressive tool. Therefore, the core aspect of our scientific research is the definition of the goal, which covers the analysis of the creation of transformation techniques as a kind of transformation of the actor on the stage. Research methodology. The proposed article uses a system-analytical approach to define the goals and strategies of scientific research, namely, using special methods and techniques, the essence and peculiarities of using the mask in the creative activity of the leading theater and pop art director A. Raikin are characterized. Scientific novelty consists in approbation of the scientific problem, namely, in determining the principles and methods of playing the actor in a mask, taking into account the use of the technique of transformation as a form of transformation of the actor on the stage. The practical significance of the obtained results is that for the first time the creativity of the outstanding stage actor A. Raikin has been analyzed in the aspect as he created a mask-image in the context of the transformation technique. Conclusions. According to the goal of the research, it has been found out that on the stage the main goal of the actor is to create a stage image with the help of natural data and professional skills. An estrade art actor, we call someone who, using tricks, transforming the "I", masks, using game pauses, mise-en-scenes, costume, light, his stage temperament, creates an appropriate stage image. In the course of the research, it turned out that A. Raikin skillfully embodied in his creative activity, a talented estrade actor, capable of one or two features, several gestures, a view to reveal the inner essence of his character. Analysis of the work of an outstanding actor gives grounds for asserting that the transformation technique is a core aspect in a kind of the actor’s reincarnation on the stage.