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The recent use of gene editing technology (CRISPR-Cas9) in clinical practice revived not only bioethical discussions surrounding the potential abuse of the technology, but also the democratization processes when making decisions about how biotechnologies are to be used. Biological material and laboratory techniques have served as means of artistic expression for several decades. Using the examples of bioart projects, this article will present to what extent and in what conditions could bioethics penetrate the aesthetic space of posthumanism – including DIY strategies as a mode of transfer of scientific and technological knowledge to the public, while engaging the people’s participation in the decisions made concerning the future of the human genome.
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Ceramic is one of the oldest branches of art that has survived from the past and continues to exist. The technical durability and easy shaping of the material in question play a role in the formation of this situation. As in every field, a certain development process has undoubtedly been followed in ceramic art. When the first ceramic products made are examined, it is seen that the forms were generally shaped by hand. The increasing population and the need for ceramic products for daily use necessitated fast production ways. At this stage, we come across forms that are made of clay and serve as a mold by firing. Later, with the discovery o f the potter's wheel, ceramic production gained great momentum. The acceleration of the production phase has increased the number of products made, making it possible to respond to needs in a shorter time. Within the scope of the paper, the history of the potter's wheel, the level it has reached today, and the works of some domestic and foreign ceramic artists who produce works using the potter's wheel are examined. As a result, it is seen that the traditional use of the potter's wheel still continues, however, many ceramic artists use the potter's wheel as a means of artistic expression. In the examined forms, it can be said that plasticity, which is considered to be one of the most important visual elements of the ceramic work, has been successfully demonstrated with the potter's wheel.
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Design is a concept which has first emerged to meet the needs of human beings and in the course of time evolved as a medium in order to satisfy the tastes of people and as a means of competing in political and social areas. In the notion of design, there is continuity, renovation and transformation. Technology, on the other hand, can be defined as producing the equipment, objects or devices necessary for meeting the needs of people including the knowledge, technique and skills to produce them. Tasks having been done with the development of science and technical transformations can all be regarded as technology. Technology and Design is like two parts of a whole because whatever it is to be designed turns into a product, an object or an image thanks to the technology. In order to attain a technological product, object or image design is required. Therefore, these two concepts appear to coexist in practice as well. In order to be beneficial for people, these two areas should be included in the process of education and training. When the practices over the world is taken into the account, it is termed as Technology Education in the USA and Design and Technology Education in England. Yet, in recent years, design has been the focus of technology in the USA. The approach of STEAM education can be regarded as an example to this. As for the Turkish Educational System, Technology and Design course has been one that combines both areas in secondary education. In Turkish Educational System, the syllabus of the Technology and Design course in the level of secondary education was updated in 2018. This updated program is constructed according to the learning areas of “The Process of Design and Display”, “Constructed Environment and Product”, “The Needs and Innovation” and “Design and Technological Solution”. The learning areas and the units have been structured following a hierarchical order. The objectives in the syllabus have been prepared taking the cognitive, affective and psychomotor features of the students into account. The learning areas in the syllabus is constructed in a way comprising the concepts of technology and design, their principles, building steps, the place in the real life, the relationships with the other areas. Although the learning areas are the same in the seventh and eighth grades, the objectives and the units are different in each one. The objectives in both the seventh and the eighth grades are prepared in a spiral and comprising way. In the syllabus of the technology and design course, students completing the seventh grade are supposed to learn the essentials of technology and design and evaluate the products of technology and design in their surroundings from a critical point of view. As for the students graduating from the eighth grade, they are expected to reach a more comprehensive learning level so as to come up with creative solutions for the problems they encounter in their daily lives. For instance; while in the unit of “Computer Aided Design” students are expected to prepare two-dimensional designs in the seventh grade, they are expected to prepare three-dimensional designs in the eighth grade. In both grades, the principle of going from simple to the complex is adopted. It can be claimed that the realization of the updated Syllabus of Technology and Design Course depends on factors like the understanding of the technology and design teachers of the syllabus, whether they find it sufficient and practical or the syllabus is comprehensive in terms of the general and specific objectives of the course etc. From this point of view, current study is conducted out of the need to investigate the views of technology and design teachers about the updated syllabus. Suggestions were developed based on the data obtained in this study, in which the questionnaire was used, one of the quantitative research methods.
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Kütahya, which is a historical city, the city that has been the cradle of civilizations and the sanjak of the prince, is also the city of zeybeks. Kütahya, which is accepted as the cradle of Anatolian civilizations; has rich accumulation. It has a history dating back to the Phrygians. Embroidered clothes have a special place among these cultural values of Kütahya. Historical zeybek clothes and accessories are among our rich cultural heritage. These cultural heritages should be researched, interpreted among today's art products and passed on to future generations. The aim of the study is to reveal the symbolic meanings, composition and form features of Kellepoş's fabric, embroidery, color, ornament, motif, motifs, which have an important place in Kütahya Zeybek clothing, and to contribute to the transfer of these features to future generations. In this context, Kellepoşlar, which is one of the head accessories of zeybek clothing, was investigated and recorded. None of the examples under review were published or exhibited. Therefore it is important for research. In the research, a source search was made about Kellepoş, which is the head accessories of Kütahya zeybek clothing. Photographs were taken and drawings were digitally drawn by field research. Color, ornament, motif, composition and form characteristics of ten Kellepoş were determined with the observation form. The universe of the study is composed of Kütahya and the sample is composed of ten Kellepoş, which are one of the head accessories of zeybek clothing in Kütahya. According to the findings, it was seen that geometric and symbolic motifs were used in the decorations of the Kellepoş. Straight needles made of free-style needles, which are made with embroidery technique in the decoration of the headbands; engraving needle and machine stitch, from loop needle; chain needle and flat filling techniques were observed. The canvas-cross stitch technique, which is one of the cross needle group, is also used in embroidery. It was observed that the engraving needle and zigzag shirring, which are decorations made with the sewing technique, were applied to fit the upper parts of the headbands to the head. It has been determined that single-color, two-color and multi-color systems are used in embroidery. Beaded or crochet stitches or hand-stitched machine stitches were observed to clean and decorate the ends of the headbands. Recommendations have been developed based on the results obtained in the research.
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Ceramic production occurs with various production methods in the historical process. It is seen that ceramic production methods developed in this process are used to produce more products. When the historical process of shaping with mold, which is one of the industrial production methods, is examined, it is seen that it has a history as old as shaping by hand and turning. The products that are produced with the use of molds that arise in line with the needs, appear as serially produced products where functionality is prioritized in order to meet the needs. The production methods used in order to respond to the increasing production demands with the developing technologies in today's ceramic industry are also constantly improving. The ceramic industry aims to facilitate simple and clear production and increase mass production with this developing technology and production methods. Ceramic art has always been in a close relationship with the industrial field and has been used in artistic ceramics production by closely following the developing technology. Today, many ceramic artists have preferred industrial production methods in their artistic production process by molding and mold production. These methods not only provide convenience for the artist in terms of time and production, but also contribute as an artistic discourse and tool. The aim of the research is to examine the industrial ceramic molding and production methods and to examine the art works produced with these production methods in the context of the industrial art relationship.
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Memories of Jacek Krupnik (1961 – 2020), co-founder of the Grafikon printing house and publishing house. Born in Wadowice, he studied, inter alia, in at the State Secondary School of Fine Arts in Krakow and at the Jagiellonian University. Thanks to his interests and commitment, Grafikon has published numerous publications with attention to editorial skills.
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Despite the difficulties related to the coronavirus pandemic, the Town Museum was active in 2020, adapting to the prevailing situation. Thanks to subsidies from external funds, it was possible to implement, among others virtual tour of the core exhibition and the documentary „John Paul II. This is how I see him until today”. Particularly noteworthy is the development of the collection, which is significantly expanding thanks to numerous donors.
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All artists, both professionals and amateurs, have the opportunity to exhibit some of their works at a collective exhibition held every five years (since 1995) called „Wadowice Artistic Environment”. In 2020, 48 artists related to the city and the surrounding area took part in this event. The exhibition in the hall of the „Centrum” cinema was prepared by professor of the Academy of Fine Arts in Krakow, DSc Tomasz Wójcik. The exhibition was accompanied by a catalog of the presented works.
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In dem vorliegenden Aufsatz werden mehrere feministische bildende Künstlerinnen der letzten fünf Jahrzehnte vorgestellt (Judy Chicago, Gina Pane, Guerilla Girls, Barbara Kruger, Marni Kotak und Jenny Saville), für die fremde und eigene Körperlichkeit eine bedeutende Rolle gespielt haben. Um die Gesellschaft wachzurütteln, bedienten sie sich neuer künstlerischer Mittel wie Performance und Installation sowie neuer Darstellungsinhalte. Der Kunstakt wurde zum Teil am eigenen Leib ausgeführt, was zu Tabubrüchen und zum Überschreiten sozial akzeptierter Barrieren führte.
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The article analyses three instances of artistic activism from the 21st century in terms of their dramaturgies of humour. The cases examined are the procession of “the human gorging society” by Viennese collective Rebelodrom in 2013, the 2012 lecture-performance “The Return of Border Brujo” by Chicano performance artist Guillermo Gómez-Peña and the ongoing Tracking Transience project by US-American artist Hasan Elahi. By extending the concept of dramaturgy from theatre theory to the study of protest and activism in the public sphere, and by interpreting the chosen artistic actions as protest, the article seeks to contribute to humour research from a perspective that focuses on its performative dimension, rather than on its functions or effects alone. The term “dramaturgies of humour” refers here to both principles of ordering as well as of unfolding an idea, which inform an act as humorous. In these instances of artistic activism, humour does not simply mark one characteristic or component of protest, but is indeed the embodied, performed means through which the protest is constituted. The article employs a reading of Mikhail Bakhtin’s work on the grotesque, and in doing so, adapts the concept originally developed in relation to literary texts to the study of artistic activism. Such a focus on the dramaturgies of humour leads to two notable insights: first, that protest using a ludic aesthetic creates and sustains a highly ambivalent relation between activists and their opponents, specifically through a playful questioning of the logic of protest in terms of opposition. Second, the dramaturgy of humour in protest reveals a strong historicity: each of the examples reference the past in sophisticated ways, and the shifting narratives of memory are integral to humour as a link between memory and imagination.
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The article reflects on the synergic interaction of artistic creativity and activist engagement through a humorous approach of some contemporary civilian protest actions in Slovenia. The article proposes the concept of “artivism” as a hybrid term for activist-artistic interventions. Case studies discussed are examples of subversive re-appropriations of insulting statements made by the former Prime Minister and his party in a creative and humorous way. These infamous and defamatory expressions, initially used by politicians to verbally attack protesters, were re-appropriated and recuperated by “artivists” and turned back, like a boomerang, at those who had originally sent them into the public, as offensively constructed verbal degradations. Uprising of Zombies in winter 2012–2013 and the public protests organized by the movement called the Erased in 2003 indicate humorous artistic expressions that are turned into symbolic weapons of people’s resistance against domination of corrupted political elite.
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An analysis of the rhetoric and aesthetics of humour in Adam Zaretsky’s oeuvre will attest to bio-art’s capacity to open up a new critical space within the life sciences debate – one of the most pertinent and conflicted fields of polemic today. In this paper I assert that in bio-art, the use of humour as a rhetorical tool holds the potential to bring ambiguous, non-normative perspectives into ethical questions that arise from developments in the life sciences (that field concerned with the study of living organisms and the advancement of life-altering interventions, such as bio-engineering and genetic manipulation). Departing from Henri Bergson and Arthur Schopenhauer’s Incongruity Theories, as well as John Morreall’s Play Theory, I analyze the performative force of humour in the artistic practice of self-proclaimed mad scientist and misbehaving ethicist Adam Zaretsky. Through this case study I argue that the disengaged mode of engagement evoked by aesthetic humour – the kind of humour that is not instrumentalized for practical concerns, but rather of intrinsic value, inciting imagination, insight, and reflection in the person experiencing it – is crucial in allowing art to move beyond the more normative, rationalized moralism of academic discourse and embody multiple, or even paradoxical perspectives simultaneously.
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The essay documents the action-installation Available for You, by the Israeli–Dutch artist duo Gil & Moti, in which they offer their free services to Arab residents of various European cities as a gesture of reconciliation and friendship at an interpersonal level. The encounters with strangers were documented in diary entries, photos and videos and sketches, presented in this essay. A playful and light-hearted humour provides a means of activism via personalised gestures as well as a means of bringing the quotidian realm into art.
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The contemporary work of art has found itself in a situation where it must renegotiate its ontological foundations in the age of digital reproduction, because its aura is now being additionally blurred by the digital replica (not only by the mechanical one). Therefore, we can’t expect that the reception of artworks will still continue to be “pure” and stable, according to the classical, mimetic understanding of the notion. The new consideration of aesthetic reception should bare in mind the essentially interactive properties of new media. Because new media art or digital art should be considered as a sort of interface between the machine and the public, its aura (ontology) should rise from the interactive connection between the architects of the virtual reality of databases and the consumers who gain access to it. Therefore, what is today considered to be a work of art is in fact a work of context: artists provide unfinished “art contexts” (even in cases where works are initially not envisaged as contexts, but rather as ordinary works of art) for others to complete and/or to put through an endless circle of deconstruction, recontextualization, restructuring, reshaping... Consequently, although semantic deconstruction still plays a large role and effectively is a basic ontological factor of aesthetic legitimacy in digital art, it still has to be diversified from the semantic virtualization which dominates in interactive arts. Conclusion: The semantic virtualization means that aesthetic communication is no longer based solely on interpretation and deconstruction of the meaning of works of art, but rather on direct participatory advantage-taking of the contexts that are provided by the works of art.
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Review of the “Word with a brush and chisel. Works of art donated to the “St. St. Cyril and Methodius” National Library” catalog issued by the institution. It provides an overview of the works which are included in the publication. They are donations and have come to the Library during different periods. Works from different fields of art are presented: painting, graphics, sculpture.
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The autonomous sensory meridian response (ASMR) is a sensory phenomenon, sometimes referred to as a “brain orgasm,” which involves pleasant tingling sensations in a body in reaction to certain stimuli. This article analyzes ASMR within the framework of ideas put forward by the musique concrète that offered new sensibilities of musical expression and promoted attentive listening to matter. At the same time, we treat sonic practices of ASMR as inspired by the concepts developed by New Materialism, especially the notions of physicality and materiality of sound recognized within the ontology of its vibrational force.
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This article proposes a ‘reconfiguration of aesthetics’ through an interpretation of Duchamp’s readymades. The reconfigured aesthetics results in the emergence of the readymades as the common objects that they are; it is an aesthetics driven by objectivity and which encounters facts, rather than things. Facts are non-neutral and value-laden arrangements of things. Hence, the article proposes what it calls ‘the aesthetics of facts’.
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In the present study, I will consider Leo Steinberg’s interpretation of Picasso’s work in its theoretical framework, and I will focus on a particular topic: Steinberg’s account of “Picasso’s Sleepwatchers.” I will suggest that the Steinbergian argument on Picasso’s depictorial modalities of sleep and the state of being awake advances the hypothesis of a new way of representing affectivity in images, by subsuming emotions into a “peinture conceptuelle.” This operation corresponds to a shift from modernism to further characterizing the postmodernist image as a “flatbed picture plane.” For such a passage, I will also provide an overall view of Cubism’s main phenomenological lectures.
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Wawel Royal Castle is a home to a large collection of gilt-leather wall hangings from the Baroque period (1720s). Purchased from the Moritzburg Castle of Elector of Saxony and King of Poland Augustus II the Strong in the 1930s., they were not the original furnishings of the Wawel Castle. Among the diverse issues concerning these wall hangings, the question of its provenience has not been thoroughly studied yet. Starting with an indication of the ruler’s interest in gilt-leather wall hangings from Venice, I present collections from several regions of Italy. The collection of gilt-leather in the Palazzo Chigi of Ariccia is the largest in Europe. Thanks to the preserved archives of the family, the place of their manufacture can be pinpointed: Roman workshops, the names of the artisans, and exact age, which is truly exceptional. With respect to other collections in Rome, as well as in Umbria, Tuscany and Bologna, information on the works’ origin or even their place and source of purchase are usually missing. In Florence, two museums, the Stefano Bardini and the Stibbert, house larger collections of gilt-leather wall hangings, reflecting antiquarian efforts in the second half of the 19th century. The Italian gilt-leather wall hangings are older than those from Krakow, as most of them date back to the 17th century, and they differ in their ornamentation and style. The decoration (pattern, motifs) reflects the designs used in textiles. Regretfully, the studied and presented material lacks examples of gilt-leather wall hangings which would match the ones from Wawel Castle in their decorative aspect. From the technological point of view, the Krakow gilt-leather wall hangings are mainly Italian, of the flat variety, diversified by punching, with painted ornaments. However, the technological aspects do not determine the place of their manufacture, as similar flat gilt-leather wall hangings were produced in other European countries as well. Similarly, the types of punching do not constitute a geographic distinguishing feature. In light of the above, the issue needs further studies, particularly in the scope of the operations of Venice workshops.
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