3. Doktorand_innen Symposium der Architektur an der Kunstuniversität Linz / 3rd Doctoral Symposium of Architecture at the University of Art and Design Linz

2021 ◽  
pp. 269-269
Author(s):  
Anselm Wagner
Keyword(s):  
Art And Design ◽  
The University

Seni Dalam Persfektif Hadist (Kajian Ma`ani Persfektif Muhammadiyah)

Bayani ◽  
2021 ◽  
Vol 1 (2) ◽  
pp. 129-142
Author(s):  
Ahmad Rifai
Keyword(s):  
Qualitative Research ◽  
Social Media ◽  
Research Method ◽  
Art And Design ◽  
Art Program ◽  
Design Program ◽  
The Law ◽  
The University

The law of art in Islam is hotly told on social media, Calls for the illegality of art echo on social media. Muhammadiyah began to pursue art by opening an art and design program at the muhammadiyah university, including at the University of Muhammadiyah Bandung. This is interesting to study, to find out the purpose of Muhammadiyah in opening an art program when the call for illegal art to go viral on social media. The purpose of this study is to find out the principles and laws of art in Muhammadiyah. This research method uses qualitative research by examining hadith about art. The hadith approach used is the science of riwayah hadith and the science of ma'ani hadith. In conclusion, there is a hadith that forbids images and statues, there is a hadith that allows making dolls for toys, draw clothes, and draw lifeless creatures. The law of art in Muhammadiyah is allowed if it is closer to monotheism and benefit. the law of art is forbidden if it leads to polytheism.

scholarly journals Exploring Effective Practices in Managing Distance Learning for Teaching Art and Design in Bahrain

2021 ◽  
Vol 20 (6) ◽  
pp. 66-87
Author(s):  
Sama’a Al Hashimi
Keyword(s):  
Distance Learning ◽  
Focus Group ◽  
Online Teaching ◽  
Descriptive Analysis ◽  
Effective Practices ◽  
Art And Design ◽  
Hands On ◽  
Digital Environments ◽  
University Of Bahrain ◽  
The University

As universities move to virtual learning, the need to explore the most effective practices for remotely teaching art and design students became very critical. It is very important to examine the strategies universities are using to efficiently transfer skills and knowledge and meet the needs of students through an online learning environment. Art and design classes involve hands-on activities and requirements that cannot easily be met in digital environments. Therefore, the study aims to investigate the creative approaches that art and design educators adopted to transition to remote teaching. The study involved conducting an online focus group with eleven art and design educators at The University of Bahrain to investigate the experiences, perceptions, and the challenges they faced while teaching art and design remotely during the Covid-19 Pandemic. The focus group engaged the educators in a semi-structured discussion in order to gather qualitative data that would allow for a descriptive analysis of their online teaching experiences and the most effective approaches they implemented. Thus, the study is undertaken to determine the most effective practices that can be employed by educators to engage students and enhance the distance learning process in an art and design online environment. The findings suggested that the main challenges that are peculiar to art and design distance learning include difficulty in clearly seeing the value of the colors in a student’s artwork on screen and the unavailability of features that support art and design remote teaching in the currently available learning management systems.

Frozen Moments in Motion

2019 ◽  
Author(s):  
Fredrik Rysjedal ◽  
Keyword(s):  
Art Music ◽  
Fine Art ◽  
Art And Design ◽  
The University ◽  
Artistic Research

What are the concepts of motion in digital comics? What types of motion can be used in comics and how does motion affect the presentation, the story and even the reader/viewer? This project is a part of the Norwegian Programme for Artistic Research, and it's executed at the Bergen Academy of Art and Design, today called Faculty of Fine Art, Music and Design at the University of Bergen.

al-Attar, Suad (1942--)

2018 ◽  
Author(s):  
Tiffany Renee Floyd
Keyword(s):  
Contemporary Art ◽  
Formal Education ◽  
Graduate Training ◽  
Fine Arts ◽  
California State University ◽  
State University ◽  
Art And Design ◽  
Geographic Regions ◽  
The University

Born in Baghdad, Iraq, Suad al-Attar moved to London in 1976. She holds a prominent position within the narrative of Iraqi modern and contemporary art as one of the nation’s leading female artists. In 1965, al-Attar became the first woman to hold a solo exhibition in Baghdad. This exhibition was the beginning of a prolific career that spans several decades and geographic regions. Al-Attar began her formal education at the Academy of Fine Arts in Baghdad and at California State University. She then pursued graduate training in London at the Wimbledon School of Art, where she studied printmaking, and the Central School of Art and Design. After the completion of her studies, al-Attar taught at the University of Baghdad before moving to London. Working within a graphic aesthetic, al-Attar’s work is flat, linear, and oftentimes monochromatic. Her canvases are filled with mythical creatures set in phantasmagoric spaces. The artist’s work is characterized as a manifestation of memory, at both a personal and collective level. Her characters emerge from Iraq’s literary past, but al-Attar also creates a personalized set of symbols based on memories of her homeland. Many of her works also offer introspective laments on the destruction of Baghdad during the turbulent years of the 1990s and 2000s.

Facilitating Art Education

2013 ◽  
Vol 4 (2) ◽  
pp. 107-123 ◽  
Author(s):  
Merle Hearns ◽  
Jegatheva (Jay Jay) Jegathesan
Keyword(s):  
Western Australia ◽  
Real World ◽  
Second Life ◽  
Virtual World ◽  
Art And Design ◽  
Leading Role ◽  
Design Students ◽  
Design Skills ◽  
The University ◽  
Global Art

Art and design students in SL experience the advantages of a visually rich environment where they can take a leading role in their own learning, have the opportunity to create objects that defy real world limitations, are immersive and interactive, and where they are able to collaborate with a community of global art practitioners. The 3D Art Challenges started at the University of Western Australia in Second Life in 2009. Since that time, UWA has rapidly emerged as a central hub of art activity in SL. The story of UWA’s journey into Second Life and a recent survey of past and present participants of the UWA Art Challenges indicate that the environment of a virtual world is well suited to the teaching of art and design skills. The UWA Art Challenges have the potential to be valuable resources for educators and students.

Library - Lab - Research

2017 ◽  
Vol 42 (4) ◽  
pp. 185-188
Author(s):  
Tabea Lurk
Keyword(s):  
Information Service ◽  
Knowledge Bases ◽  
Raw Material ◽  
Research Knowledge ◽  
Art And Design ◽  
The Arts ◽  
Work Cycle ◽  
Research And Education ◽  
The One ◽  
The University

The Mediathek of the Fachhochschule Nordwestschweiz Basel (FHNW) is a remarkable place. It's shaped, on the one hand, by the demands it must meet in functioning as the central information hub of the Faculty of Art and Design (Hochschule für Gestaltung und Kunst - HGK). On the other hand its exposed location on the Campus der Künste (art campus) and its specific spatial plan determine the everyday work. Positioned between research and education, the Mediathek HGK functions as an intermediary, with the character of a laboratory: it provides access to important knowledge bases and makes content available in a way which enables experimental, creative and yet also systematic forms of research. Knowledge, in the sense of classified information, becomes a resource and raw material for the arts and design. New, digital contents must be made as available and accessible as archived (post-research) or historical material. A creative work cycle is enabled, which continually questions, implements, refines and forgets materials and resources.1Both the dynamic agility of the university itself and the focus on always questioning the adequacy, timeliness, relevance, potential, etc. of the theme of information service, results in continuous developments at the Mediathek (bibliotheca semper reformanda est).

K-12 Arts Pedagogies and Technology Use Transitioning into Higher Education

2015 ◽  
pp. 310-330
Author(s):  
Megan J McPherson
Keyword(s):  
Higher Education ◽  
Technology Use ◽  
Pivotal Role ◽  
Significant Issue ◽  
Art And Design ◽  
Design Students ◽  
Education And Technology ◽  
K 12 ◽  
The University ◽  
University Setting

Art and design students' transitions in the university studio and their careers are now a significant issue in higher education. There is a more explicit articulation of the graduate capabilities that students now need to cultivate to become artist and designers. The author focuses on the transition into the university setting and the pedagogic relationship with the graduate capabilities of artists and designers and their portfolio careers as a way to contextualize art pedagogies and technology use in K-12 education. The author argues that supporting students' expectations and aspirations in their desires to become artists and designers is relational to graduate capabilities and the notion of a portfolio career. The author concludes by suggesting that the use of arts education and technology have a pivotal role in helping students develop transitioning skills, graduate capabilities and portfolio careers.

scholarly journals Editorial

2016 ◽  
pp. 2-3
Author(s):  
Alan Cocker
Keyword(s):  
New Zealand ◽  
Cultural History ◽  
Editorial Team ◽  
Design History ◽  
Art And Design ◽  
Perceived Need ◽  
University Of Technology ◽  
History Of ◽  
Design Production ◽  
The University

It is a pleasure to be able to introduce the first issue of BackStory. The idea behind this journal is to provide a medium for those interested in ‘looking back’ at New Zealand’s art, media and design history. These are the stories that lie behind current media, art and design production and practice in this country. It is envisaged that this new journal will provide an opportunity to explore our rich heritage in these fields. In part the motivation to launch a new journal is to meet a perceived need. The country presently does not have a journal which has the focus envisaged for BackStory. The Journal of New Zealand Art History (JoNZAH) was last published in 2012/13 and its absence has meant that those interested in reading and writing about this aspect of our cultural history lost a valued publication. The editorial team has approached the Hocken Library who provided editorial and production input for the JoNZAH and gained their support for the BackStory initiative. It is acknowledged that the new journal is not a re-launch or continuation of the JoNZAH. Instead, BackStory: Journal of New Zealand Art, Media and Design History, seeks to broaden the scope of its predecessor to include media and design history. The editorial teamhope that those who valued the JoNZAH will find value in this journal as a worthy successor.The initial editorial team for BackStory is drawn from the Auckland University of Technology (AUT) and an Editorial Advisory Board has been established. The establishing editorial team are Minna Pesonen (Designer), Rosemary Brewer, Alan Cocker and Peter Hoar from the School of Communication Studies, Peter Gilderdale from the School of Art & Design and Simon Mowatt from the Faculty of Business. It is the hope of this team that BackStory has an appeal beyond academia and will inspire contributions from those working in this country’s libraries, galleries and museums as well as others who have an interest in the history of New Zealand art, design, photography and media. We are pleased that this first issue contains contributions from curators at the Auckland Museum and Te Papa, and that there is a wide representation of different material drawn from across the target disciplines. Our hope is that the quality of the research and writing, and the common New Zealand focus will entice readers into crossdisciplinary explorations. All submissions except commentaries will be blind peer reviewed by two reviewers to conform to university research publication standards but we are seeking contributions that will have an appealbeyond the university. In the so-called online age the decision to publish a printed form is deliberate. The editorial team are seeking the highest print production standards conscious of the artifact value of this journal.

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