American Journal of Art and Design最新文献

{"title":"Visual Representations of Newspaper Reportage of Boko Haram Terrorism in Nigeria","authors":"Ayo Osisanwo","doi":"10.11648/j.ajad.20200504.14","DOIUrl":"https://doi.org/10.11648/j.ajad.20200504.14","url":null,"abstract":"The Boko Haram terrorists have consistently attacked Nigerians in different parts, especially the northern part, of the country. The actions and inactions of this group have been covered, visually and verbally, by different media outlets. Extant studies on Boko Haram (BH) terrorism in Nigeria have gained attention from scholars from other non-linguistic fields. Hence, sufficient attention has not been paid to BH terrorism by linguists. Some of the linguistic studies that have examined the coverage of the BH actions and inactions have emphasised the verbal representations, neglecting the visual representations of the reports. This study, therefore, examines the pictorial representations in selected newspapers in representing BH terrorism. In gathering data, BH-related pictures and images are purposively selected from four newspapers which were published from 2011 to 2014. The four purposively selected newspapers, that is, Daily Trust, Leadership Nigeria, The Punch and The Nation are representative of the northern and southern parts of Nigeria. The newspapers allocate space to the pictorial representation of the BH activities. The analysis is mainly guided by van Leeuwen’s (visual) representation of social actors; and complemented with other relevant multimodal models. The newspapers’ visual representations cognitively and imaginatively influence readers’ experiences in relation to the activities of Boko Haram terrorists.","PeriodicalId":198528,"journal":{"name":"American Journal of Art and Design","volume":"57 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115590626","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Types of Vibrato in Contemporary Music and the Possibility of Their Use in Flute Pedagogy","authors":"Monika Streitová","doi":"10.11648/j.ajad.20200504.13","DOIUrl":"https://doi.org/10.11648/j.ajad.20200504.13","url":null,"abstract":"This project falls within the area of developing innovative methods in teaching the flute. It focuses on search and application of types of vibrato as contemporary technique of sound production that may contribute to the creative development of classic vibrato and the sonority of the students. The research has been conducted systematically with the aim to deepen the theoretical knowledge and practical skills of the students, learn the types of vibrato and their symbols, and add them to their daily studies. For this purpose, different compositions and excerpts of compositions employing various types of contemporary vibratos have been selected and applied to resolve effectively various problems in sound production and result in a more grounded use of vibrato in the interpretation of contemporary music, as well as music of other historical eras. This objective gains its relevance following the implementation, today unavoidable, of the ancient music movement; this movement decisively transformed the interpretation of baroque and classical music “imposing” on the interpreters, who play on modern instruments, the challenge of finding the sound, wording and expressive resources suitable to the expression and rhetoric of these styles of music. Through auditory analysis and advanced methods of sound analysis was possible to understand and explain the effects of the contemporary vibratos in the modification of the diaphragm support, throat and embouchure, and the respective sound and musical results.","PeriodicalId":198528,"journal":{"name":"American Journal of Art and Design","volume":"269 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115667055","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"An Expanded Understanding of Art as an Agent of Change in Higher Education","authors":"Anika van den Berg, Karolien Perold-Bull, E. Costandius, N. Alexander, Danielle Becker","doi":"10.11648/J.AJAD.20200504.12","DOIUrl":"https://doi.org/10.11648/J.AJAD.20200504.12","url":null,"abstract":"South African higher education institutions seek strategies to address belonging and decolonization. The student protest movement across South African university campuses during 2015–2016 further underlined this fact. We explored the capacity of interactive artworks to address belonging and active citizenship, both prioritized by university management. Art, in this sense, facilitates out-of-classroom education to aid the institutional decolonial vision of a university entrenched in colonial history and apartheid. Furthermore, the protests challenged the slow pace of institutional change at South African universities. This article examines responses to an interactive artwork placed on the Stellenbosch University campus. Our elastic understanding of art and education deviates from traditional art history and acts as a critical public intervention that aimed to stimulate conversation about belonging at Stellenbosch University. The employed research methods are informed by the decolonial framework which engages a crucial attentiveness of the power issues embedded in knowledge production, validation and dissemination. An interactive public artwork, titled “We Belong Here”, was placed on the main campus of Stellenbosch University in South Africa. We invited students on campus to make visual statements related to topics such as community, apathy, legacy, honour, protest, ethical conduct and creativity. Qualitative data was gathered from individual and group interviews with students, lecturers and staff members who were most likely to have encountered the artwork. Theories on critical citizenship education, and art education informed the research and discussion. The data suggests that art education in the expanded field has the potential to aid higher education institutions in bringing about personal and intellectual growth. Both accepting and dismissive opinions were raised by participants and welcomed by the researcher. Viewing their voice among many, led some to a sense of belonging in the university community, and their interaction led them to converse with others on the topic of citizenship. There was also criticism to the artwork text written in English, and concern that such a work could not create any relevant impact. Although the parameters of the artwork is limited within the field, the student protest movement was a forceful reminder of urgent matters in higher education and a reason to continue enquiry and interventions to decolonialize education.","PeriodicalId":198528,"journal":{"name":"American Journal of Art and Design","volume":"376 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123409717","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Effect of the Seven Chakras on the Colors and Architecture of Ancient Iran","authors":"Seyed Kasra Mirpadyab, Somayeh Shirinjani, Elham Goljamali","doi":"10.11648/J.AJAD.20200504.11","DOIUrl":"https://doi.org/10.11648/J.AJAD.20200504.11","url":null,"abstract":"In this paper, we intend to study fine examples of Islamic-Iranian architecture prove that the people was aware of the chakra's seven chakras and their attributes and therefore the impact is evident in the architecture. In a comparative study of six by six Persian style, party, Khorasani, mystery, Azeri and selected Isfahani The impact on them was seven chakras and the end of the article is to explore the three effects in both the time before and after the advent of Islam was taken. First, after the arrival of Islam in Iranian architecture, due to open third chakra, fifth, sixth, and seventh shifted. And secondly, the pre-Islamic Persian architecture according to the first chakra and the fourth chakra (see the green of nature and hear the sounds of nature from inside the building) was paid in the third period no reason to focus on the second chakra sex (no orange) is not. As well as by matching the dimensions of the human body chakras in the human body have got to the point that the golden proportion is derived from the human body chakras. In the end, we have come to the conclusion that in the architecture of Iran before the advent of Islam and even after the advent of Islam, whether in meaning and content, or in the form of form, or in space and decorations, the color orange has not been used at all. In the description of the second chakra meaning lust, architects have not used this color in architecture.","PeriodicalId":198528,"journal":{"name":"American Journal of Art and Design","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125254968","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Transforming Learning Through User-Centered Design Research Methods","authors":"J. Spruce, M. Evans","doi":"10.11648/j.ajad.20200502.15","DOIUrl":"https://doi.org/10.11648/j.ajad.20200502.15","url":null,"abstract":"This paper considers how design educators can harness the evolving nature of design practice to enhance learning for design students. It sets out the reasoning for embedding user-centered design research methods in the curriculum, describes the potential of these methods to transform learning and, as a result, better prepare graduates for their future career. Project-based learning was employed to explore the potential impact of embedding user-centered design research methods in the curriculum. Two project-based case studies, conducted with undergraduate design and design and marketing students in separate UK universities, illustrate how user-centered design research methods have been applied across traditional discipline boundaries. We report on student experiences immediately, and longitudinally (12 months) after the completion of the projects. Thematic analysis of semi-structured interviews with students on completion of the projects revealed that a more holistic understanding of the design process was developed through the use of user-insights generated as a result of engagement with these methods. While this process had caused positive tensions and recognition of the need to move beyond the self and to put themselves in other people’s shoes, the insights generated informed subsequent design activity and provided a clearer link between research and design development. After 12 months, thematic analysis of follow-up interviews revealed changes in design practices through adoption of structured user-centered methods had led to an enhanced appreciation of contextual factors and underpinned and better justified design decisions. Detailed analysis of the findings informed the development of a Transforming Learning Framework which articulates how the adoption of user-centered design research methods shapes students longer-term understanding of, and approaches to, design. This framework conveys how new frames of reference and critical reflection led to an enhanced design skillset and mindset and as such provides new insights that have the potential to advance understandings of pedagogic practice. Finally, the research revealed that exposure to user-centered design research methods enhanced sensitivity to, and awareness of, user needs; increased understanding of context and the breadth of issues relevant in early stages of the design process; and amplified students confidence helping better prepare them for professional practice.","PeriodicalId":198528,"journal":{"name":"American Journal of Art and Design","volume":"82 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126624669","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Need for Customized Academic Dresses for the Tertiary Institutions in Ghana: A Study of Kumasi Technical University Community","authors":"P. Howard, Michael Ato Essuman, Thomas Obeng Asare, K. Simpson","doi":"10.11648/j.ajad.20190403.12","DOIUrl":"https://doi.org/10.11648/j.ajad.20190403.12","url":null,"abstract":"Issues have been raised about the identity challenges that seem to have characterized most tertiary institutions in Ghana especially the Technical Universities as regards the academic gown usage during academic ceremonies. The usual practice is that Institutions who do not own the gowns hire from the traditional universities whose aims and philosophies are often at variance with them and in effect results in identity crisis. The aim of this paper was to investigate the issues concerning how gowns are used in the study area and the design expectations for befitting customized gowns. To do that descriptive research with cross sectional survey was undertaken in the study area using convenience and simple random sampling techniques and data were collected from 400 respondents. The findings were that most respondents recognised the existence of the issues pertinent to the use of the academic ensembles that amount to identity challenges and admitted that these issues need to be addressed by acquiring befitting customised academic dresses. Additionally, respondents were almost unanimously in favour of the various gown components designed to portray the philosophies and traditions of the institution and its faculties, be of good quality material, exquisitely sewn and being durable. Respondents indicated the need for deans of faculties to have special academic costumes specific to their status and positions and in all, they were of the view that gowns must have an indigenous traditional touch. It is thus recommended that all academic institutions in Ghana should acquire their own academic dresses which are in tune with their philosophies and traditions and capable of visibly differentiating them from their sister institutions. This outcome will help policy makers in their quest for the appropriate academic robes for their various institutions and faculties and also whip up interest for acquiring befitting academic robes. It will as well add to the body of knowledge for the use by the academia and other interested researchers.","PeriodicalId":198528,"journal":{"name":"American Journal of Art and Design","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128249332","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Alberto Sartoris’ Contribution to the Architectural Culture of Theatre: From the Private Theatre of Casa Gualino to the Avant-garde Theatre for Geneva","authors":"C. Gavello","doi":"10.11648/J.AJAD.20190403.11","DOIUrl":"https://doi.org/10.11648/J.AJAD.20190403.11","url":null,"abstract":"In the last twenty years Alberto Sartoris has been the subject of numerous celebrative publications: despite this critical fortune, catalogs of exhibitions and essays dedicated to him are mostly referred to specific episodes of his career, the aspects of his relationship with the architecture of the theater has always remained in the background, in spite of this very rich bibliographic production. The aim of this research is therefore to add a further piece to the complex artistic-theoretical activity of such a multifaceted person, analyzing Sartoris' contribution to architecture of the theatre through the analysis of his main projects and his theoretical contribution to design. His eclectic personality allowed him to successfully apply in many disciplines, so as to be recognized as one of the most important precursors of rational architecture in Italy and abroad. Sartoris' “lyrical rationality” is also clearly visible in his experimental avant-garde theatre project of 1929 whereby he can coherently deal with theatre themes, favoring a rational stage performance, with the involvement of large masses of spectators, a trend typical of architecture in the first half of the twentieth century.","PeriodicalId":198528,"journal":{"name":"American Journal of Art and Design","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129836864","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Production of Ceramic Wares with Idea Development from Shells to Promote Femininity in Ghanaian Pottery","authors":"Mercy Abaka-Attah, Kofi Asante-Kyei, A. Addae","doi":"10.11648/J.AJAD.20190402.11","DOIUrl":"https://doi.org/10.11648/J.AJAD.20190402.11","url":null,"abstract":"Ghanaian pottery practices and their modern reintroduction have been rendered masculine especially in tertiary institutions. Feminine participation in contemporary Ghanaian pottery/ceramic practices is virtually non-existent. The study believed women’s participation had contributions to make to pottery practices, and hence advocated the employment of feminine subjectivities and traditional spaces as well as indigenous pottery trade strategies and other feminine idiom within contemporary studio practices as means to rescue the stagnating practices and involve womanhood in the evolution of ceramic art at tertiary levels. ‘Modelling’ and ‘throwing’ were the main studio forming methods employed to produce crockery in the study. Materials used included; Abonko and Mfensi clays, manganese and glaze. Again, the study explored means and bases for feminine inclusion, especially in contemporary and academic pottery practices as means of normalising an anomaly engendered by maternity. It concluded among others that, pottery practices in their modernist sense had been trapped in sculpture representations and it was only through the use of feminine idioms and subjectivities that they ought to be freed to their full meanings as art. It was recommended with others that, female students would be given the chance to develop concepts that would depict their inner values and beliefs in their wares.","PeriodicalId":198528,"journal":{"name":"American Journal of Art and Design","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133521611","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A Study of Prehistoric Cloud and Water Texture Human Face Rock Paintings in the Upper Laohahe River","authors":"Wu Jiacai","doi":"10.11648/J.AJAD.20190401.11","DOIUrl":"https://doi.org/10.11648/J.AJAD.20190401.11","url":null,"abstract":"To understand the ancient rock paintings correctly, we should start with the analysis of the rock painting chronology and the rock painting form. For the rock paintings rich in quartz crystal, such as the water texture Rock Paintings of Hongshan Hou in the upper reaches of Laohahe River in northern China, we have succeeded in the rock paintings of Hongshan Hou and Zhang Yingrui of Jiguo in Yuan Dynasty according to the dating equipment, procedures and methods used by the international rock painting organizations [1-3]. The tombstone, the tombstone of Zhang Chonglu, the metropolitan governor of the Yuan Dynasty, the tombstone of Confucianism on Quanning Road in the Yuan Dynasty, and other chronologically rich in quartz crystals, were scientifically and noninvasively extracted from the micro-corrosion (microscopic) sample data. According to the corrosion width (area) of quartz crystals in chronological years, the corrosion width per thousand years was obtained, and the production age of rock paintings was calculated. In order to test the accuracy of micro-corrosion dating method, we can adopt the method of cultural relics analogy to make a comparative study on the shape system of rock paintings and the decorative patterns of painted pottery unearthed from rock paintings sites. Results The micro-corrosion dating method was used to measure the E5000+1071/-1071 years and the E5000 years of the moist rhyolite carving in Hongshan Houcao cave. This method was basically consistent with the 5000 years of the colored pottery (carbon 14 dating) unearthed from the rock painting site. Conclusion: Three moist-water rhyolite paintings were found in a river in the upper reaches of Laoha River. The method of making them is the same as that of making them in the same time. The style of making them is the same as that of \"cloud and water\" in oracle bone inscriptions.","PeriodicalId":198528,"journal":{"name":"American Journal of Art and Design","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114569907","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Avant-Garde Fashion Projects from Sekondi-Takoradi in Ghana","authors":"Genevieve Adjei-Appoh, R. Acquaye, Joseph Ampadu","doi":"10.11648/j.ajad.20220701.12","DOIUrl":"https://doi.org/10.11648/j.ajad.20220701.12","url":null,"abstract":"","PeriodicalId":198528,"journal":{"name":"American Journal of Art and Design","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128818189","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}