DER MONAT. 06. Jahrgang 1953 Nummer 62
Please download/open the Introduction-PDF which you find below to see en détail what you can find in this issue Thank you.
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Please download/open the Introduction-PDF which you find below to see en détail what you can find in this issue Thank you.
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Please download/open the Introduction-PDF which you find below to see en détail what you can find in this issue Thank you.
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Please download/open the Introduction-PDF which you find below to see en détail what you can find in this issue. Thank you.
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Please download/open the Introduction-PDF which you find below to see en détail what you can find in this issue. Thank you.
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Please download/open the Introduction-PDF which you find below to see en détail what you can find in this issue. Thank you.
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Lowell Mason had a strong influence on the development of American Music Education in the 19th century. As an organist and a choirmaster, he devoted the most of his live to arranging and publishing songs for the liturgy. Many of these melodies stay as the core repertoire of the American and European hymn books. In the field of education, Lowell Mason is known as „the father of the music education“ in the United States. His contribution lies in the inclusion of music education into the American school system. In favor of the entire American educational society, Lowell Mason made the overall development and the change of existing system.
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Bu çalışmada sanat eğitimi yöntemlerinin kişinin duygu ve düşsel kapasitesini bulmasına yardımcı olması ve yaratıcı bir aşama olarak çocuğu özgür çalışmaya, özgür düşünmeye yöneltmesi amaçlanmıştır. Çalışma kapsamında öğretim yöntemleri öğrencinin ders içi motivasyonunu ve konuya yönelik hedeflenen kazanımın sağlanması yönündeki beklentileri karşılaması açısından önemlidir. Sanat eğitimi, genel eğitimin oldukça önemli bir bölümüdür. Çağdaş bir eğitim; bireyin sorgulayıcı, araştırıcı, yaratıcı, öğrendiklerini uygulayabilen özellikler kazandıran, kişilik geliştirici bir eğitimdir. Bununla alakalı olarak çağdaş eğitimde ezbere dayanan, çokça bilgi yükleyici, aktarılan bilginin değiştirilmeden benimsenmesini, ezberlenen bilgilerin tekrardan aktarılmasını öngören bir yönteme ve sisteme yer yoktur. Sanat eğitimindeki çağdaş yöntemler: kopya yöntemi, bellek eğitimi yöntemi, kolaydan zora yöntemi, psikolojik yöntem, drama yöntemi, müzikli yöntem, gösteri (demonstrasyon) yöntemi, çocuk sanatı yöntemi, sanat yoluyla eğitim yöntemi olarak verilmiştir. Bu yöntemler detaylı bir şekilde ele alınarak tanımlanmıştır. Asıl olan öğrenecek kişide öğretilmek istenenin kalıcı olması ve bir davranış değişikliğine dönüşmesidir. Öyle ise öğretim esnasında en uygun yöntemi seçmek, öğretmenin alan bilgisine, eğitim formasyonuna ve yaratıcılığına kalmaktadır.
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Toys have an important effect on the development of children, who are our future. Toys having such an importance should be handled sensitively in the design process. With industrialization, toy designs are mostly realized through factories. The designs of toys produced in the factories focus on plastic and its derivatives. Today, sustainable designs in toys are among the products preferred by parents. There are many types of sustainable toys. In this direction, the effect of sustainable products on the design of wooden toys is the aim of the research. In order to achieve this aim, a descriptive analysis of the data obtained by using document analysis, one of the qualitative research methods, was made. Necessary evaluations were made by examining the studies and approaches related to sustainable designs in toys. In this direction, suggestions have been put forward for the studies that can be done for the dissemination of sustainability in toy design. Finally, in the light of the data obtained during the research process, it was concluded that parents pay more attention to the choice of wooden and sustainable toys they would buy for their children.
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Art is the event of willingly and consciously transferring an emotion that manifests in humans. Considering that with art raises and exalts the human soul; art is related to human inspiration and creativity. As a result of the changing social structures with the modernization process, mass culture influenced art. In this study, it is thought that art, which has a unique structure, does not fit into a utilitarian pattern in its essence, however, it transforms into a kind of good with the spread of mass culture, and with that, the creativity of art in a utilitarian identity has deeply affected. Artificial intelligence, which enters all areas of life and affects human life, has begun to manifest itself in many areas requiring emotion, including the art field. The art is associated with emotion, however, the commodification of the concepts of inspiration and creativity together with modernization on the basis of popular culture has deepened and has changed dimensions with the presence of artificial intelligence in the field of art. In art, which is the expression of human emotion, it is thought that artificial intelligence is a kind of replication, not inspiration, to attempt to perform art through software installed to itself away from emotion and creativity. The study sought to answer the question of whether art can be performed emotionally with the development of technology based on the literature reviews. As a result, it is thought that high art, which has lost much of its essence with mass culture, will negatively affect art, artistic production, and the artist in the near future with the existence of artificial intelligence enabling and attempting to perform art. Without emotion, the meaning of art will lose, rather than change.
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This work aims to introduce the Hakka people. They are a unique people and are part of the Han Chinese ethnic group. In ancient times they have avoided military and political conflicts and migrated further south until they have reached the southernmost provinces of present-day China. They have preserved their centuries-old traditions and have given the world the 𝑡𝑢𝑙𝑜𝑢 buildings. 𝑇𝑢𝑙𝑜𝑢 have unique and astonishing architectural features which will be described in the text below.
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An attribution is, first and foremost, an interpretative category. With the anonymous pottery painter identificated as the 𝑃𝑒𝑛𝑡ℎ𝑒𝑠𝑖𝑙𝑒𝑎 𝑃𝑎𝑖𝑛𝑡𝑒𝑟 would not be different, but this “creative personality” was implicated in unexpected workshop practices, stylistic transitional peculiarities and crossover involving parietal painting. Throughout the second half of the last century, the Penthesilea workshop generated less and less interest among the specialists in the field of Greek vase painting. The dominant interpretation that the “ethical” aspect of it’s contemporarie parietal paintings could be seen in the Penthesilea Painter’s works has given way to doubts and academic disinterest. This paper compiles main understandings on the subject.
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A series of observations and consequences debated in this article, which are based on the contemporary issue raised by the artificial intelligence, reflect the pace at which technology progresses, this being verified and confirmed by developing an experiment, within the architectural studio, which proposes to the students to merge the traditional/classical design methods with innovative, expanding ones that target and capture the creative fields in which human beings operate.The subject of limiting or completely eliminating the aggression on the natural environment is a very topical one. Abandoned quarries represent "wounds" in the natural landscape, resulting from the exploitation of the mineral resources. The studio theme for the 5th year`s short project challenges us to imagine possible solutions to heal these "wounds". It proposes imagining a scenario in order to reactivate and revitalize the quarry – whose exploitation process has ceased. In developing the concept, the theme proposes the inclusion of special structures, biomimicry in architecture, but also experimental studies carried out with A.I. tools. The method approached preserved and adapted the classic study practices within an architecture workshop and joined them by accessing new technologies as working and learning tools. The studio organized a study trip where the students had the opportunity to visit the site – the Bididia Quarry and its surroundings. Continuing with the S.W.O.T. analysis, an attempt was made to decode the context of the intervention. The study using the models supported the students in developing a complete and coherent approach in a site with dimensions that are difficult to control/imagine without a direct experience. The studio leading team also encouraged the connection to new tools: listening to A.I. classes and the use of A.I. to stimulate and complement the student's creativity, the use of drones and 3D models obtained by photogrammetry.In order to have as clear a picture as possible and an effective mentor-student dialogue on the process of integrating artificial intelligence as a working tool, the studio gave the students a chance to express themselves by answering a few questions at the end of the exercise. Solving problems and making decisions when assisted by the artificial intelligence has obvious benefits, but it can also raise certain difficulties. In this context, we consider the preparation of the students and, of course, our own - the tutors, in a realistic way for the challenges they/we will encounter. Using A.I. in the exercise of the profession will undoubtedly become a routine, perhaps even a norm. As long as these algorithms - already infiltrated in all structures and at all levels of society - are used within the limits of certain restrictions and, at the same time, the scenario of the independent initiatives is excluded, the new reality imposed by the A.I. should not be seen as a threat, but as a new frontier that is about to open to us.
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The study "Bulgarian Fine Art in the 19th Century: the Leap from Medieval Imagery to European Visual Culture" provides a comparative analysis of the development of Bulgarian painting in relation to European art. The study is carried out through a juxtaposition and visual comparison of the characteristics and visual qualities of certain works taken for analysis. The methods of painting, the construction of the composition, and the borrowed techniques taken by the Bulgarian masters from the artists in Europe are compared. One of the most complex and remarkable periods in Bulgarian history is brought into focus as how the artists managed after a long stagnation to catch up with already developed European standards in art. In an effort to overcome cultural backwardness - a new generation of artists made a great and important leap in the development of Bulgarian fine art. A parallel is drawn between Europe, which has had time to quietly shape its art, and Bulgaria, which after a long slumber is decisively uplifting and transforming its cultural heritage. On the basis of this analysis, we get a visual example of borrowed practices and the development of Bulgarian painting. We trace how it progressed along with socio-cultural changes.
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This paper summarizes the experiences of performing artists during Covid-19 in five European countries as Cyprus, Greece, Italy, Lithuania, and Portugal in the framework of DigitAct (Erasmus+) project. Based on surveys and focus groups are tested the perceptions of the barriers and challenges faced to identify areas of competencies with significant reference to digitalisation. Furthermore, this paper will make a comparison with the literature review for digitalisation in the performing art sector highlighting opportunities for the countries that participate in the DigitAct project.
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If we examine a painting in a gallery, we can see it contains an array of different things. When we are looking at it from a distance, we are likely to be drawn to its dimensions or overall composition. When we edge closer, we discern the abstract style of the painting, our eyes follow the lines, surfaces, edges and shapes. When the style of the painting is representative, we start to explore a motif, a figure or the elements and how they are spatially arranged. In the case of a portrayal of a human being, our eyes will naturally turn to the face, the features and gestures depicted, the position of the body or the attributes of the figure. We might also be intrigued by the creative style, the schematic aspect of the image, or the specifics that emerge from the artist’s handwork, such as brushstrokes, contrasts, or the color scheme; we might even pay attention to the unique and defining artistic signature.
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