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Journal articles on the topic 'Of Industrial Arts'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Cirakoglu, Huriye. "Hand arts and industrial design." New Trends and Issues Proceedings on Humanities and Social Sciences 5, no. 6 (September 14, 2018): 128–33. http://dx.doi.org/10.18844/prosoc.v5i6.3849.

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The ornamentalism that starts with the history of mankind was born from the passion of mankind to embellish the material used and to shape it with an understanding of art. Handicrafts are income-generating, production-oriented activities based on the individual’s knowledge and skill, often using natural raw materials, made by hand and simple tools, reflecting the pleasure and skill of the person carrying the cultures, traditions folkloric characteristics of the community. Handicrafts are the most important items showing the level of culture and civilisation of the society or nation in which they have emerged. Thus, handicrafts indicate the economic level, beliefs, customs and customs of that society, the climate and technological level of the geographical area in which they live. Increasing world population and technological developments have affected production methods and tools. In developed countries, it is very important to cultivate the human power that can produceand use the technology.Keywords: First keyword, second keyword, third keyword, forth keyword;

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2

Aughterson, Kate, and Jessica Moriarty. "Place-based arts: Post-industrial landscapes." Journal of Writing in Creative Practice 8, no. 2 (June 1, 2015): 103–7. http://dx.doi.org/10.1386/jwcp.8.2-3.103_2.

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3

Muñóz Campos, Paloma, and Sofía Rodríguez Bernis. "Industria, decoración y diseño. Historias del Museo Nacional de Artes Decorativas." Ge-conservacion 8 (December 4, 2015): 67–77. http://dx.doi.org/10.37558/gec.v8i0.291.

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La posición de las artes decorativas –artes aplicadas, cultura material, diseño, artesanía- en el panorama actual cultural de los museos está necesitada de una reflexión para conectar con la sociedad y con los cambios operados en la museología del siglo XXI. El Museo Nacional de Artes Decorativas (MNAD) ha reflejado en su evolución el desarrollo de las profesiones dedicadas a los objetos de consumo. Aunque en sus inicios como Museo Nacional de Arte Industrial (MNAI) se centró en el fomento de los productos de la segunda Revolución Industrial, acabó por perder la batalla de la modernidad tras la Guerra Civil, privilegiando el acopio de “obras de alto valor decorativo”, al margen del debate contemporáneo fuera de nuestras fronteras, que buscaba tender un puente entre arte e industria. Hoy el museo se enfrenta al nuevo reto de prestar servicio a una sociedad en crisis y trabaja en su redefinición conceptual como institución, hacia la construcción de un nuevo museo. Un museo de todos y para todos, que nos ayude a comprender los objetos que configuraron y configuran nuestro entorno.

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4

Howlett, James, and Brad Huff. "Industrial Arts/Technology: What are We Doing?" Phi Delta Kappan 88, no. 10 (June 2007): 764–67. http://dx.doi.org/10.1177/003172170708801013.

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5

Rokuzō, Yasuda, and Penny Bailey. "Japan's Industrial Arts: Present and Future (1917)." Review of Japanese Culture and Society 28, no. 1 (2016): 51–54. http://dx.doi.org/10.1353/roj.2016.0022.

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6

Lim, Kyungsoon. "Liberal Arts Education in the 4th Industrial Revolution." Studies of Korean & Chinese Humanities 58 (March 31, 2018): 1–20. http://dx.doi.org/10.26528/kochih.2018.58.001.

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7

�hman, Mats, Erik S�derman, Irena Cynkier, and Birgitta Kolmodin-Hedman. "Work-related respiratory problems in industrial arts teachers." International Archives of Occupational and Environmental Health 67, no. 2 (1995): 111–18. http://dx.doi.org/10.1007/bf00572234.

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8

Castillo, Eduardo. "The School of Arts and Trades in Santiago (EAO), 1849–1977." Design Issues 32, no. 1 (January 2016): 32–40. http://dx.doi.org/10.1162/desi_a_00362.

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The School of Arts and Trades (Escuela de Artes y Oficios, EAO) in Santiago is one of the earliest examples of how enlightenment-based ideas of education, developed during the industrial revolution, reached Latin American states at the dawn of their independence. The School was founded in 1849 at the behest of President Manuel Bulnes to promote the development of the “mechanical arts” among the “sons of honest and industrious artisans”, with the intention of training a workforce for a fledgling domestic industry through the teaching of four trades: carpentry, blacksmithing, foundry and mechanics. From the beginning until well into the twentieth century, a polytechnical approach was repeatedly considered and rejected in favour of a solid industrial formation rather than specialization in a particular trade. This discussion began early on and continued throughout the life of the EAO, with various specialtes added over time to the basic structure of the school; the initial four workshops, however, were a constant presence throughout.

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9

Ruastiti, Ni Made. "Tourist Performing Arts: Balinese Arts-Based Creative Industry." Mudra Jurnal Seni Budaya 25, no. 3 (September 30, 2010): 293–301. http://dx.doi.org/10.31091/mudra.v25i3.1567.

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Creative industry is part of creative economy, which is the implementation of the attempts made to create sustainable development through creativity. Sustainable development refers to a competitive economic climate with renewable resources. Creative economy refers to the fourth stage evolution after agricultural economy, industrial economy and informational economy. As far as the performing arts performed for tourism are concerned, arts seem to develop sustainably. The performing arts such as Cak, Barong and Legong performed for tourism by the Balinese community is the implementation of the local people’s creative industry in developing their artistic life sustainably. They are packaged as the local traditional performing arts.

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10

Kitarō, Kunii, and Penny Bailey. "Industrial Arts and the Development of Japan's Industry (1932)." Review of Japanese Culture and Society 28, no. 1 (2016): 55–61. http://dx.doi.org/10.1353/roj.2016.0023.

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11

Plakke, Bruce L. "Hearing Conservation in Secondary Industrial Arts Classes A Challenge for School Audiologists." Language, Speech, and Hearing Services in Schools 16, no. 1 (January 1985): 75–79. http://dx.doi.org/10.1044/0161-1461.1601.75.

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A survey of secondary industrial arts teachers was made to examine the use of hearing protection in industrial arts programs. The results showed the teachers had little knowledge of hearing conservation methods. All of the teachers had access to an audiologist but very few knew that an audiologist was available. They did say that they would consult with one if help were offered. Although 47% of the teachers believed that they had acquired an occupational hearing loss, they did not use personal hearing protection. The results pointed out the need for further education of industrial arts teachers and more use of school audiologists as consultants.

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12

De Miguel Álvarez, Laura. "Reflexiones sobre la propia experiencia: ser docente en áreas de Arte y Diseño = Reflections about my own experience: be a teacher in Arts and Design Areas." ArDIn. Arte, Diseño e Ingeniería, no. 7 (July 25, 2018): 69. http://dx.doi.org/10.20868/ardin.2018.7.3759.

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ResumenSer docente a la vez de asignaturas pertenecientes a áreas como las Bellas Artes y el Diseño (Industrial, Gráfico, de Moda, de Interiores, etc.) resulta una tarea estimulante en cuanto a la búsqueda de conexiones metodológicas de mi desempeño para/con los estudiantes dentro de ambas áreas de conocimiento y a través de modalidades distintas de aprendizaje, presencial y online.Favorecer el surgimiento de indicios significativos que les ayuden a tomarlas riendas de su capacidad proyectiva es de suma importancia en cada uno de los contextos en los que llevo a cabo mi labor.Este artículo tiene como objetivo principal estimular la búsqueda de metodologías basadas en proyectos que visibilicen los procesos de aprendizaje en áreas de Arte y Diseño, para que los estudiantes desarrollen su capacidad creativa sin descuidar su juicio crítico dirigido, en todo momento, a su futuro desempeño profesionalAbstractTo simultaneously teach subjects like Fine Arts and Design (Industrial, Graphic, Fashion, Interior, etc.) turns out to be a stimulating task searching methodological connections for/with the students in both areas of knowledge can apply different learning process.I encourage them to find in the process the base that would help them to acquire their own design expertise, the base within in each of the contexts Fine Arts and Design.This article is aimed to stimulate the search of new methodologies based on projects that show any learning process in Art or Design, so that the students can develop their own creative capacity without neglecting their critical judgment (of primary importance to their future professional life).

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13

Lammert, Eberhard. "A rebelião das máquinas: a arte na era da comunicação aparativa." Aletria: Revista de Estudos de Literatura 10 (December 31, 2003): 144–59. http://dx.doi.org/10.17851/2317-2096.10.0.144-159.

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Resumo: O presente artigo contribui para uma reflexão sobre a influência da técnica sobre as artes na Era da Informatização. Desde o início da Era Industrial, nota-se a inversão gradativa de papéis entre máquina e homem: a "ascensão das máquinas" teria transformado o homem em "servo". Nem mesmo o campo das artes esteve livre dos efeitos de tal "ascensão", sobretudo no contato com os meios de comunicação de massa, como o rádio, o cinema e a televisão. Na verdade, tudo não passou de um prelúdio para o que ainda estava por vir: a informática atingiu as artes e nossa cultura fundada na tradição escrita, resultando em transformações muito mais amplas no âmbito da comunicação individual e social.Palavras-chave: arte; técnica; mediatização.Abstract: The present article brings up issues on the influence of technique on art in the Information Age. Since the beginning of the Industrial Age, there has been a progressive inversion of roles in the relation between man and machine : the "rise of machine" seems to have turned man into a "servant". Not even the field of art remained untouched by the effects of such "rise", specially in its contact with communication media like radio, cinema and television. In fact, all that was but a prelude to what was still to come: informatics reached into the arts and our writing based culture, causing widespread transformations in the realms of social and individual communication.Keywords: art; technique; mediatization.

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14

Lammert, Eberhard. "A rebelião das máquinas: a arte na era da comunicação aparativa." Aletria: Revista de Estudos de Literatura 11 (December 31, 2003): 144. http://dx.doi.org/10.17851/2317-2096.11.0.144-159.

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Resumo: O presente artigo contribui para uma reflexão sobre a influência da técnica sobre as artes na Era da Informatização. Desde o início da Era Industrial, nota-se a inversão gradativa de papéis entre máquina e homem: a "ascensão das máquinas" teria transformado o homem em "servo". Nem mesmo o campo das artes esteve livre dos efeitos de tal "ascensão", sobretudo no contato com os meios de comunicação de massa, como o rádio, o cinema e a televisão. Na verdade, tudo não passou de um prelúdio para o que ainda estava por vir: a informática atingiu as artes e nossa cultura fundada na tradição escrita, resultando em transformações muito mais amplas no âmbito da comunicação individual e social.Palavras-chave: arte; técnica; mediatização.Abstract: The present article brings up issues on the influence of technique on art in the Information Age. Since the beginning of the Industrial Age, there has been a progressive inversion of roles in the relation between man and machine : the "rise of machine" seems to have turned man into a "servant". Not even the field of art remained untouched by the effects of such "rise", specially in its contact with communication media like radio, cinema and television. In fact, all that was but a prelude to what was still to come: informatics reached into the arts and our writing based culture, causing widespread transformations in the realms of social and individual communication.Keywords: art; technique; mediatization.

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15

Minguet Batllori, Joan M. "Classicism and cinema: Eugeni d'Ors, «Noucentisme» and the industrial arts." Locus Amoenus 5 (December 1, 2000): 291. http://dx.doi.org/10.5565/rev/locus.116.

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16

Diachenko, Alla. "Experience of Professional Activity of Ukrainian Industrial Arts Education Institution." IMAGE OF THE MODERN PEDAGOGUE 1, no. 5 (November 19, 2019): 93–99. http://dx.doi.org/10.33272/2522-9729-2019-5(188)-93-99.

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17

Åhman, Mats, Mats Holmström, and Henrik Ingelman-Sundberg. "Inflammatory markers in nasal lavage fluid from industrial arts teachers." American Journal of Industrial Medicine 28, no. 4 (October 1995): 541–50. http://dx.doi.org/10.1002/ajim.4700280409.

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18

Dominiczak, Marek H. "Ball Bearings and Winches: How Industrial Civilization Permeated the Arts." Clinical Chemistry 59, no. 6 (June 1, 2013): 1008–9. http://dx.doi.org/10.1373/clinchem.2012.199893.

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19

Hussein, Haitham Aamer Mahmoud. "Identity of Industrial Cities." Academic Research Community publication 1, no. 1 (September 18, 2017): 9. http://dx.doi.org/10.21625/archive.v1i1.110.

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It is clear how the techonological developments along with globalization depleted the identity of civilizations and peoples, so it is necessary for the intellectuals and the artists to work hard in order to assure the identity of the cities. Such sacred goal could be achieved via increasing the people’s awareness.The identity of the cities will, directly, help in achieving the elevation and excellence of cities in order to maintain the uniqueness of their personalities and artwroks. In doing so, sublime values and morals, like the spirit of nationalism and patriotism of their people will be cultivated and harnessed. However, neglecting that may result in the dismantling of their identity accompanied by other sideaffects, like losing the cities’ historical, economic, political, social, religious or scientific identity.This study is analysing and comparing the models for a distinct identity of the industrial cities ranging from Egypt, Europe to America in the twentieth century until now. It also investigates if the contemporary arts have a role to assert a distinct identity of the industrial cities in this period of time or not. Art is the language of the place and the revealer of its identity. Statues in squares are a pulpit. Urban spaces help cultivating such language emphasizing of the culture of its residents and the policy of the responsible administrations. Technical works in the industrial cities represents the identity of the city, which is totally different than other cities. The identity of the industrial states is affected by several factors. Firstly, the cultural factors- where the establishments of culture and identity occur through arts, the awareness and understanding of the audience, and their tastes of the Arts. Secondly, the economic factors which cost and enrich the attraction of investors and manufacturers. Thirdly, the political factors assist the governments in seeking the elimination of the socisl problems concerning the political success. It is majorly perpetuauted by providing factories and living needs in these cities; leading to the negligience of the artsitic, social and moral factors. There should be a relationship between these borderlines and the used machinery to achieve compatibility between life circumstances and the beauty of the artwork.Drafting Fine artwork, and its impact on manufacturers' motivation and encouragement, by expression or symbolism or movement within the artwork, and the emphasis on the moral value of the work in gaining respect and dignity.Spatial limits : Egypt, Europe, America, and limiting the study to on one city from each.Time limits: from the twentieth century until now.

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20

Liu, Yi. "Some Reflections on the Integration of Arts and Engineering in the Teaching of Industrial Design." E3S Web of Conferences 179 (2020): 02068. http://dx.doi.org/10.1051/e3sconf/202017902068.

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This paper analyzes the disciplinary characteristics of industrial design, and proposes to apply integration of arts and engineering in industrial design teaching. Then paper also analyzes its necessity; and conducts a comparative analysis of the characteristics of art and engineering students separately. Finally it proposes specific teaching methods for integration of arts and engineering.

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21

Jaffee, Barbara. "Jackson Pollock's Industrial Expressionism." Art Journal 63, no. 4 (2004): 68. http://dx.doi.org/10.2307/4134506.

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22

Jaffee, Barbara. "Jackson Pollock's Industrial Expressionism." Art Journal 63, no. 4 (December 2004): 68–79. http://dx.doi.org/10.1080/00043249.2004.10791145.

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23

Serota, Kristie. "Quilting Resistance to the Sleep Industrial Complex." Art/Research International: A Transdisciplinary Journal 6, no. 2 (September 4, 2021): 468–77. http://dx.doi.org/10.18432/ari29602.

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In this narrative account of sleeplessness, I draw on Ball’s (2002, 2012) poststructural conceptualization of quilts as social texts to explore the practice of quilting as a method of arts-based storytelling. Through the process of quilting, I story my experience of resisting the Sleep Industrial Complex. I explore the biocultural arena of sleep and critique the biomedical construction of sleeplessness as insomnia. I argue that the medicalization of sleeplessness works to support multi-billion-dollar industries that purport to cure insomnia through consumerism (Barbee et al., 2018; Williams, 2008). I describe how radically accepting sleeplessness as a facet of my existence, and not a medicalized disorder, is an expression of self-acceptance and an act of self-care. In this arts-based narrative account of sleeplessness, I mark the transition from viewing sleeplessness as a medical disorder to radically accepting sleeplessness as a natural facet of our complex being-in-the-world.

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24

Ramírez León, Cecilia. "El sector industrial de Duitama, aportes a su caracterización." kepes 16, no. 20 (July 1, 2019): 483–522. http://dx.doi.org/10.17151/kepes.2019.16.20.18.

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25

Elder, Alan C. "Industrial Ceramics, or Ceramics at Home? Object Factory: The Art of Industrial Ceramics." Journal of Modern Craft 3, no. 1 (March 2010): 107–10. http://dx.doi.org/10.2752/174967810x12657245205341.

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26

Russell, Grace C. "Cinema’s Military Industrial Complex." Studies in Documentary Film 12, no. 3 (August 23, 2018): 258–59. http://dx.doi.org/10.1080/17503280.2018.1513112.

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27

Hatuka, Tali. "The New Industrial Urbanism." Architectural Design 91, no. 5 (September 2021): 14–23. http://dx.doi.org/10.1002/ad.2727.

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28

Cha, Sujung. "Case study on dance arts education in the 4th industrial revolution." Dance Research Journal of Dance 77, no. 6 (December 31, 2019): 123–40. http://dx.doi.org/10.21317/ksd.77.6.8.

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29

Howlett, James. "Industrial Arts: Call it What You Want, the Need Still Exists." Phi Delta Kappan 89, no. 7 (March 2008): 522–24. http://dx.doi.org/10.1177/003172170808900715.

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30

Seaman, Bruce A. "Competition and the Non-Profit Arts: The Lost Industrial Organization Agenda." Journal of Cultural Economics 28, no. 3 (August 2004): 167–93. http://dx.doi.org/10.1023/b:jcec.0000038021.67290.49.

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31

Rogaleva, Elena Vladimirovna, and Ludmila Robertovna Tretyakova. "Regional Continuing Education Model for Teachers in “Industrial Arts” Subject Area." Pedagogika. Voprosy teorii i praktiki, no. 4 (April 2021): 548–54. http://dx.doi.org/10.30853/ped210087.

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32

Leslie, Esther, and Melanie Jackson. "Industrial Metaphysics." Parallax 22, no. 4 (October 2016): 427–36. http://dx.doi.org/10.1080/13534645.2016.1229165.

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33

Woodfox, Albert, and Jackie Sumell. "Prison Industrial Complexity." TDR/The Drama Review 55, no. 4 (December 2011): 2–3. http://dx.doi.org/10.1162/dram_a_00138.

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34

Jackson, A. "Makers: The New Industrial Revolution." Journal of Design History 27, no. 3 (February 13, 2014): 311–12. http://dx.doi.org/10.1093/jdh/ept048.

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35

Scarlett, Sarah Fayen. "The Craft of Industrial Patternmaking." Journal of Modern Craft 4, no. 1 (March 2011): 27–48. http://dx.doi.org/10.2752/174967811x12949160069018.

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36

Suga, Y. "'Purgatory of taste' or Projector of Industrial Britain? The British Institute of Industrial Art." Journal of Design History 16, no. 2 (January 1, 2003): 167–85. http://dx.doi.org/10.1093/jdh/16.2.167.

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37

Mesda, Yasemin, and Sevinç Kurt. "Industrial Heritage Buildings in Cyprus." Prostor 29, no. 1 (61) (June 30, 2021): 100–117. http://dx.doi.org/10.31522/p.29.1(61).8.

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This study focuses on the Nicosia Municipal Arts Centre [NiMAC] in Nicosia, one of the prominent historical industrial buildings in Cyprus, which has been re-functionalized as an art centre. The overall goal of this study is to examine and clarify the human experience of the NiMAC building as part of one’s lifeworld. The main argument of the research is that proposing an effective research design for examining how a person distinguishes the components of a re-used building is possible by human responses to architecture rather than focusing on the physical aesthetics of it. Hence, the purpose of the study is to make a multi-sensory analysis to grasp how a person develops an emotional attitude in the re-functioned space which can be the core assessment of the adaptive re-use purposes. In this context, this research basically explores the main research question which is about what spatial experiences the NiMAC building is offering to people after it is re-functioned when space is experienced in a multisensory approach. Methodologically, this research design is basically created by the hybrid use of first-person, existential, and hermeneutic tactics of the phenomenological approach.

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38

Lim, Yura, Dong-uk Im, and Jongoh Lee. "Promoting the Sustainability of City Communities through ‘Voluntary Arts Activities’ at Regenerated Cultural Arts Spaces: A Focus on the Combination of the ‘Democratization of Culture’ and ‘Cultural Democracy’ Perspectives." Sustainability 11, no. 16 (August 14, 2019): 4400. http://dx.doi.org/10.3390/su11164400.

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Abandoned industrial facilities have become a nuisance in cities because the needs of society members are continuously changing. Idle industrial facilities might be considered to be merely abandoned and empty spaces, but they are in reality historic sites that illustrate the period of industrialization in the region. They are valuable because they serve to accumulate memories from the past. Recently, with the need for urban regeneration, there have been various discussions on converting the abandoned industrial facilities into cultural art spaces. They are intended to promote the sustainability of communities and cities by vitalizing the area. Considering the social dimensions of urban regeneration, it is necessary to render such a creative space as a ‘Third Place’ to promote the city’s sustainability. Converted industrial facilities, through the medium of ‘Voluntary Arts Activities,’ have many elements that are suitable for the needs of a creative space, and even for a ‘Third Place’. As opposed to the private sector, it is seen that when the public sector regenerates these facilities, they approach this issue in order to lower the cultural arts barrier. The public sector, which is a government-centered first sector, conducts regeneration projects based on the ‘Democratization of Culture’ perspective. However, in order to promote participation in the third sector, which is a community-based, non-profit sector that actually uses the space, it is important to approach the issue from the ‘Cultural Democracy’ perspective. Focusing on this aspect, this study aims to examine cases of public sector-led converted cultural arts spaces by ‘Voluntary Arts Activities’ in France and South Korea, namely ‘Le Centquatre-Paris,’ the ‘Oil Tank Culture Park,’ and the ‘West Seoul Arts Center for Learning’. This will allow us to contemplate the possibility of sustainable spaces, individuals, communities and cities.

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39

Domínguez Rodríguez, Rubén. "Magnum opus: urbanismo, arquitectura y revalorización patrimonial de la planta de baterías de cok y subproductos de ENSIDESA (Avilés)." Liño 26, no. 26 (June 9, 2020): 113. http://dx.doi.org/10.17811/li.26.2020.113-124.

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RESUMEN:La planta de baterías de hornos de cok y subproductos de la Empresa Nacional Siderúrgica S.A. domina desde mediados del siglo XX el nuevo paisaje industrial de la ciudad de Avilés (Asturias). Las baterías combinan en sus planteamientos urbanísticos y arquitectónicos valores funcionales y estéticos propios del Movimiento Moderno, que por su calidad y trascendencia le han conferido un interés patrimonial reconocido, junto al resto de instalaciones de la factoría, mediante su inclusión en el Plan Nacional de Patrimonio Industrial. Tras su cese productivo en el año 2019 diversas instituciones científicas han manifestado la necesidad de conservar y dotar de nuevos usos la coquería, los edificios de almacenaje y talleres auxiliares y la maquinaria, como testimonio material de uno de los proyectos más ambiciosos y valiosos del Instituto Nacional de Industria. Palabras clave: Patrimonio industrial; siderurgia; Avilés; arquitectura; movimiento moderno.

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40

Ross, Steven J., and Robert Weible. "Essays from the Lowell Conference on Industrial History 1982 and 1983: The Arts and Industrialism, the Industrial City." Labour / Le Travail 20 (1987): 263. http://dx.doi.org/10.2307/25142877.

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41

Bahr, Betsy W., and Robert Weible. "Essays from the Lowell Conference on Industrial History 1982 and 1983: The Arts and Industrialism/The Industrial City." Technology and Culture 28, no. 2 (April 1987): 369. http://dx.doi.org/10.2307/3105592.

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42

Efer, Obasuyi Osa-Francis. "3. Industrial Design and Contextualism: The Applied Arts Constituent/ Curriculum Imperatives in Design Practice and Education." Review of Artistic Education 14, no. 1 (March 2, 2017): 249–61. http://dx.doi.org/10.1515/rae-2017-0031.

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Abstract This paper examined the Curriculum imperatives of Industrial design education and the Contextualism of the principles and practice of disciplines such as Applied Arts and Industrial Design viz-a-viz their constituent and contextual roles and place in design practice/ Industry. The issue of contextualism as it relates to Design and the Applied Arts according to DeRose, K. (2009) would seem to mean a collection of views, theories, principles or philosophy of Design / applied Arts which seems to emphasize the context in which the action principles or purpose of design is understood relative to such a context. ie. In Design, the principles and practice of Applied Arts / Design disciplines (such as in Architecture) for example, contextualism refers to that theory of design in which modern / contemporary designs (buildings, products or structures) are harmonized together with the contemporary design ideals, forms and characteristics peculiar to modern ways/styles of living. (Jencks, 2002). This informed the need and thrust of this paper which was predicated on the consideration of contextualing such a role/place of the Applied Arts as a constituent of Design and spotlighting it to be innately and intrinsically connected to the resultative man-made material culture and society. The paper also seeks to establish that the principles and practice of Design education emphasises the Teacher-learner relationship which is aimed at imparting credible problem solving skills and initiatives such as drawing, drafting (draught-manship), modeling or sculpting (in clay or industrial plasticine) styling and prototype creation (realized by moulding/shaping of the clay material to assume any contour, shape, form or topology of the given object) in ordeer to achieve that innate context and desire for the perfect product so designed. This paper recommends that for any design to succeed it must emplace (strictly) a well articulated Industrial Design Curriculum which elucidates those Applied Arts principles and practice as a constituent/major component part in the Design process of manufacture of any given design initiative.

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Kashim, I. B., and O. S. Adelabu. "The Current Emphasis on Science and Technology in Nigeria: Dilemmas for Art Education." Leonardo 43, no. 3 (June 2010): 269–73. http://dx.doi.org/10.1162/leon.2010.43.3.269.

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Nigerian educational policies continue to emphasize the development of science and technology. Arts are being relegated to the background as a result of this emphasis. This paradigm shift has affected visual arts education in Nigeria. The number of those seeking admission into science- and engineering-based courses has risen tenfold in spite of the limited infrastructural facilities available, while the number seeking admission to creative arts continues to dwindle yearly. Those who had been preparing for courses in engineering and science but could not secure admission are often absorbed into arts-based industrial design courses. Students in industrial design with science backgrounds are able to develop their creative potential, which is necessary in developing economies. This paper suggests that art training in Nigeria should embrace integrated science subjects.

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Stokes, Raymond G., and Gary Herrigel. "Industrial Constructions: The Sources of German Industrial Power." German Studies Review 20, no. 3 (October 1997): 481. http://dx.doi.org/10.2307/1431405.

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Rabkina, Nadezda, Oxana Pavlova, and Olga Valko. "Prospects for Industrial and Post-Industrial Tourism in Kuzbass Coal Mining Cluster." E3S Web of Conferences 174 (2020): 04018. http://dx.doi.org/10.1051/e3sconf/202017404018.

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This article explores Kuzbass potential for industrial and post- industrial tourism, drawing on successful foreign experience and several Russian cases. We identified common international trends in using industrial heritage and outlined the challenges that Russian companies are facing on the way towards a post-industrial paradigm. Western industrial museums present their local industry in the global context, while showing its impact on local community and culture. They make a wide use of modern technology, establish links with science and business, support local arts, and involve authentic members of the industry. Russia, however, can boast very few examples of industrial tourism (e.g. the Krasnaya Gorka Museum in Kemerovo), which is largely seen as having a purely academic appeal. Yet, Kuzbass, with its long history of coal-mining and other industries, has very extensive prospects in this type of tourism. To prove it, we performed a SWOT analysis of a prospective tour into reclaimed lands which showed far more strengths and opportunities for integrating local community, business, and industrial heritage than weaknesses and threats.

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Obasuyi, Osa-Francis Efe. "Industrial Design: Applied Arts Component as a Factor in Design and Technology." African Research Review 10, no. 1 (February 3, 2016): 211. http://dx.doi.org/10.4314/afrrev.v10i1.16.

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Hwang, Jin-Suk, Sang-Sin Lee, Shi-Hyun Park, and Kyeong-Seok Han. "Case Study on Convergence of Performing Arts in the Fourth Industrial Revolution." Journal of acting studies 17 (February 28, 2020): 129–47. http://dx.doi.org/10.26764/jaa.2020.17.9.

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Shim, Honam. "Chinese Classics as Liberal Arts Education in era of Fourth Industrial Revolution." Korean Society of Culture and Convergence 41, no. 5 (October 30, 2019): 773–804. http://dx.doi.org/10.33645/cnc.2019.10.41.5.773.

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Bradley, Betsy Hunter. "Industrial Modernism: Architecture and Ideology." Journal of the Society of Architectural Historians 54, no. 4 (December 1, 1995): 508–10. http://dx.doi.org/10.2307/991109.

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Ottosen, Rune. "The Military-Industrial Complex Revisited." Television & New Media 10, no. 1 (September 19, 2008): 122–25. http://dx.doi.org/10.1177/1527476408325365.

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