Deciphering the codes of contemporary plastic art requires an intellectual effort, so that communication between the artist and the media outlet can strip away the ambiguity to reach a clear reading such that the achievement can be understandably presented to the recipient. The first chapter serves to identify the problem, the scope of the study. As the issue stems from the ambiguous nature of an artist's piece for media publication, it would derive several questions: What is the level of interest of the Arab press in the field of plastic arts? How willing is the Arab press to actively contribute to the field? And are they open to enhancing the process of understanding or receiving it? The author(s) further elaborate upon the importance and aim of the research that is quantified by the objective and temporal metrics of the study along with relevant, defined terminology. The second chapter covers the two concepts of information and receiving through its design of the study's theoretical framework and the author(s) acknowledgment and citations of prior relevant works. Its third chapter details the procedures by which the researcher(s) would identify a sample populace consisting of chosen relatives and relevant works of art. The fourth chapter, in providing its analysis of the results and the drawn conclusions of the study, gave insight into how media and art can influence an audience's opinions about community issues. Such a connection would notably contribute to the decision-making process and shape the convictions of the individual..
{"title":"The problem of media coverage of contemporary Arab formation","authors":"Asaad Abdul, Mohsen Ali, Bahaa Abdel, Hussein Majeed","doi":"10.59767/2023.11/27.7","DOIUrl":"https://doi.org/10.59767/2023.11/27.7","url":null,"abstract":"Deciphering the codes of contemporary plastic art requires an intellectual effort, so that communication between the artist and the media outlet can strip away the ambiguity to reach a clear reading such that the achievement can be understandably presented to the recipient. The first chapter serves to identify the problem, the scope of the study. As the issue stems from the ambiguous nature of an artist's piece for media publication, it would derive several questions: What is the level of interest of the Arab press in the field of plastic arts? How willing is the Arab press to actively contribute to the field? And are they open to enhancing the process of understanding or receiving it? The author(s) further elaborate upon the importance and aim of the research that is quantified by the objective and temporal metrics of the study along with relevant, defined terminology. The second chapter covers the two concepts of information and receiving through its design of the study's theoretical framework and the author(s) acknowledgment and citations of prior relevant works. Its third chapter details the procedures by which the researcher(s) would identify a sample populace consisting of chosen relatives and relevant works of art. The fourth chapter, in providing its analysis of the results and the drawn conclusions of the study, gave insight into how media and art can influence an audience's opinions about community issues. Such a connection would notably contribute to the decision-making process and shape the convictions of the individual..","PeriodicalId":148490,"journal":{"name":"Basrah Arts Journal","volume":"47 42","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139204025","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}
This research deals with the conceptual analysis of the mind in its contemporary philosophical form, as the philosophy of mind has increasingly grown through scientific practice that sought to analyze concepts and experimental issues related to the structure and function of the brain. This created a space for distinguishing between different types of mental phenomena from each other, and research About the characteristics that are necessary and sufficient to determine the mentality, which is seen to have the ability to determine mental specificity. Therefore, the research will focus on the most important of those concepts that have been philosophically worked on in defining the concept of the mind. Accordingly, the structure of the research was established within four chapters. The first chapter contained (the framework General) on the research problem, which the researcher summarized by asking (How do the philosophical works of the mind contribute to the production of contemporary art?), and the goal of the research is (to identify the concepts of contemporary philosophy of mind and activate them as analytical mechanisms for contemporary plastic work). As for the second chapter (theoretical framework), it included Two sections: The first section dealt with: (The mind in light of its contemporary problems), and the second section dealt with: (The mind and the works of contemporary philosophers). As for the third chapter (Research procedures), it included defining the research community. (3) artistic works were selected, and the researcher analyzed them as a sample. For the community, while the fourth chapter contained the results and conclusions.
{"title":"Contemporary philosophical works of the mind and the productivity of contemporary fine art","authors":"Wissam Abdul, Khader Faisal, Ali Sharif","doi":"10.59767/2023.11/27.12","DOIUrl":"https://doi.org/10.59767/2023.11/27.12","url":null,"abstract":"This research deals with the conceptual analysis of the mind in its contemporary philosophical form, as the philosophy of mind has increasingly grown through scientific practice that sought to analyze concepts and experimental issues related to the structure and function of the brain. This created a space for distinguishing between different types of mental phenomena from each other, and research About the characteristics that are necessary and sufficient to determine the mentality, which is seen to have the ability to determine mental specificity. Therefore, the research will focus on the most important of those concepts that have been philosophically worked on in defining the concept of the mind. Accordingly, the structure of the research was established within four chapters. The first chapter contained (the framework General) on the research problem, which the researcher summarized by asking (How do the philosophical works of the mind contribute to the production of contemporary art?), and the goal of the research is (to identify the concepts of contemporary philosophy of mind and activate them as analytical mechanisms for contemporary plastic work). As for the second chapter (theoretical framework), it included Two sections: The first section dealt with: (The mind in light of its contemporary problems), and the second section dealt with: (The mind and the works of contemporary philosophers). As for the third chapter (Research procedures), it included defining the research community. (3) artistic works were selected, and the researcher analyzed them as a sample. For the community, while the fourth chapter contained the results and conclusions.","PeriodicalId":148490,"journal":{"name":"Basrah Arts Journal","volume":"56 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139208859","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}
The research dealt with the topic representations of the ruling icon in modern European painting which concerned the issue of ruling icons through their employment and uses in European painting, and included four chapters: the first of which concerned the methodological framework of the research, and contained the research problem in which light was highlighted on (the ruling icons in Modern European painting), and the research problem was identified by answering the following question: What are the ruling icons in modern European painting? As for the second chapter, it included the theoretical framework, which contained two sections, the first included the concept of the ruling icon, while the second chapter included the ruling icon in modern European painting, while the third chapter was concerned with the research procedures, and the fourth chapter contained results and conclusions, including: The icon in European painting relied on the emotional impact of colors and shapes, and the artist used a way to communicate their inner feelings such as fear and sadness, and their works became . Contemporary painters added the religious figure in their works, and this employment came to bear key characteristics . The icon took its place in the contemporary arts, which were able to develop forms that carry iconographic connotations with religious dimensions, in principle, to serve the secrets of the faith or to simplify its concepts and consolidate them in the minds of the societies that we see to this day as a system immortalized by legends.
{"title":"Representations of the ruling icon in modern European painting","authors":"Omar Qrifa Ali Mustafa, Alaa Ali Ahmad","doi":"10.59767/2023.8/26.8","DOIUrl":"https://doi.org/10.59767/2023.8/26.8","url":null,"abstract":"The research dealt with the topic representations of the ruling icon in modern European painting which concerned the issue of ruling icons through their employment and uses in European painting, and included four chapters: the first of which concerned the methodological framework of the research, and contained the research problem in which light was highlighted on (the ruling icons in Modern European painting), and the research problem was identified by answering the following question: What are the ruling icons in modern European painting? As for the second chapter, it included the theoretical framework, which contained two sections, the first included the concept of the ruling icon, while the second chapter included the ruling icon in modern European painting, while the third chapter was concerned with the research procedures, and the fourth chapter contained results and conclusions, including:\u0000\u0000The icon in European painting relied on the emotional impact of colors and shapes, and the artist used a way to communicate their inner feelings such as fear and sadness, and their works became .\u0000Contemporary painters added the religious figure in their works, and this employment came to bear key characteristics .\u0000\u0000 The icon took its place in the contemporary arts, which were able to develop forms that carry iconographic connotations with religious dimensions, in principle, to serve the secrets of the faith or to simplify its concepts and consolidate them in the minds of the societies that we see to this day as a system immortalized by legends.","PeriodicalId":148490,"journal":{"name":"Basrah Arts Journal","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127559574","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}
The Moroccan caftan has recently occupied a large space among contemporary designers because of its great aesthetic impact in terms of shape and decoration, as well as the cultural heritage of the Arab peoples. For international designers in America, Europe and East Asia, in our research, a set of images of the traditional and contemporary caftan was used, which were analyzed visually to know the quality and size of the change that occurred in the shape of the traditional sleeve as a result of its influence on modeling and the designer's vision. In addition, the basic measurements of the sleeve were calculated to further emphasize the importance of the change in the measurements and silhouette of the contemporary sleeve. Contemporary to find out the prediction of the future shape of the kaftan, which is a kind of prediction of the shape, design, quality of fabrics and motifs used in the future fashion industry and its impact on fashion designers and the fashion industry market In our research, the study included focusing on the traditional shape of the sleeve and knowing its basic types that are known and inherited through generations, as well as studying the contemporary shapes of the sleeve through a graphic analysis of a group of contemporary costumes for fashion designers who were inspired by the Moroccan caftan as an inspiration for fashion in contemporary clothes. In front of modernity, it has changed significantly, especially in the lower sleeve area.
{"title":"Contemporary fashion and its impact on the shape of the sleeves in the traditional Moroccan caftan","authors":"A. Najim, AbdulAllah Al Zubeidi","doi":"10.59767/2023.8/26.6","DOIUrl":"https://doi.org/10.59767/2023.8/26.6","url":null,"abstract":"The Moroccan caftan has recently occupied a large space among contemporary designers because of its great aesthetic impact in terms of shape and decoration, as well as the cultural heritage of the Arab peoples. For international designers in America, Europe and East Asia, in our research, a set of images of the traditional and contemporary caftan was used, which were analyzed visually to know the quality and size of the change that occurred in the shape of the traditional sleeve as a result of its influence on modeling and the designer's vision. In addition, the basic measurements of the sleeve were calculated to further emphasize the importance of the change in the measurements and silhouette of the contemporary sleeve. Contemporary to find out the prediction of the future shape of the kaftan, which is a kind of prediction of the shape, design, quality of fabrics and motifs used in the future fashion industry and its impact on fashion designers and the fashion industry market In our research, the study included focusing on the traditional shape of the sleeve and knowing its basic types that are known and inherited through generations, as well as studying the contemporary shapes of the sleeve through a graphic analysis of a group of contemporary costumes for fashion designers who were inspired by the Moroccan caftan as an inspiration for fashion in contemporary clothes. In front of modernity, it has changed significantly, especially in the lower sleeve area.","PeriodicalId":148490,"journal":{"name":"Basrah Arts Journal","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125739440","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}
This research is concerned with studying the techniques that were applied to pottery forms in the ages before blogging in Iraq in search of the goals inherent in it. About the techniques that were applied in the forms of pottery of an era before writing and revealing them, the methods and methods of their application, and identifying the tools and materials that were employed in it.The results of the research, including: The ancient potter showed deep experience through expression in colors, as the figure did not include prominent or recessed motifs, but only painted on the surface, and this indicates the high ability of the ancient potter and his coloring power in determining the drawings.
{"title":"Techniques applied to ancient pottery forms before notation","authors":"Eaman hikmat mutashar, A. H. Alwan","doi":"10.59767/2023.8/26.4","DOIUrl":"https://doi.org/10.59767/2023.8/26.4","url":null,"abstract":"This research is concerned with studying the techniques that were applied to pottery forms in the ages before blogging in Iraq in search of the goals inherent in it. About the techniques that were applied in the forms of pottery of an era before writing and revealing them, the methods and methods of their application, and identifying the tools and materials that were employed in it.The results of the research, including: The ancient potter showed deep experience through expression in colors, as the figure did not include prominent or recessed motifs, but only painted on the surface, and this indicates the high ability of the ancient potter and his coloring power in determining the drawings.","PeriodicalId":148490,"journal":{"name":"Basrah Arts Journal","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126628625","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}
Racism is barbaric practices based on prejudice and intolerant behaviors and is based on the persecution and marginalization of individuals or groups for reasons such as differences in religion, color, race, language or culture. It consists of four chapters. The first chapter is devoted to the causes and problem of the research, represented by the following question: How was the anti-racism represented in contemporary formation? The research also aims to identify the representations of the object of anti-racism in the contemporary formation, while the objective boundaries represented in the artworks of artists that carried representations of racism were identified, and the temporal boundaries included the works of art completed in the period (1818-2020). As for the second chapter, which is represented by the theoretical framework and previous studies And it included three topics, where the first topic was devoted (a reading in the concept of racism and its rejection), and what came in the second topic is anti-racism in the history of contemporary formation, while the third chapter concerned the research procedures, and the researcher included the research community in the light of which the research sample was selected, as well In the research tool, the researcher relied on the results of the indicators in the theoretical framework, which is considered the basis of the analysis, in addition to the observation tool, which is one of the tools of the descriptive approach. The fourth chapter included the results, conclusions, recommendations, and proposals.
{"title":"Representations of anti-racism in contemporary formation","authors":"Manal Rayhan, Ali Sherif Jabr","doi":"10.59767/2023.8/26.9","DOIUrl":"https://doi.org/10.59767/2023.8/26.9","url":null,"abstract":"Racism is barbaric practices based on prejudice and intolerant behaviors and is based on the persecution and marginalization of individuals or groups for reasons such as differences in religion, color, race, language or culture. It consists of four chapters. The first chapter is devoted to the causes and problem of the research, represented by the following question: How was the anti-racism represented in contemporary formation? The research also aims to identify the representations of the object of anti-racism in the contemporary formation, while the objective boundaries represented in the artworks of artists that carried representations of racism were identified, and the temporal boundaries included the works of art completed in the period (1818-2020). As for the second chapter, which is represented by the theoretical framework and previous studies And it included three topics, where the first topic was devoted (a reading in the concept of racism and its rejection), and what came in the second topic is anti-racism in the history of contemporary formation, while the third chapter concerned the research procedures, and the researcher included the research community in the light of which the research sample was selected, as well In the research tool, the researcher relied on the results of the indicators in the theoretical framework, which is considered the basis of the analysis, in addition to the observation tool, which is one of the tools of the descriptive approach. The fourth chapter included the results, conclusions, recommendations, and proposals.","PeriodicalId":148490,"journal":{"name":"Basrah Arts Journal","volume":"135 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115268599","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}
emantics and ways to employ them in the brand have made a big difference in the field of visual art in general since ancient times, I mean since the first practices of ancient man on the walls of caves, he was satisfied with encoding things and writing them down from his daily observations, so they seemed simple and spontaneous, from here symbolic signs and signs were formed and became a semantic meaning and a functional purpose in his life. Art had the largest share through the employment and borrowing of these forms in contemporary works of art, no matter how distinctive the work of art is, we find its root and basis based on the forms provided by nature, we see its clear impact on the brand and what is borrowed to form a clear visual discourse with a beautiful vision with a functional dimension according to a system governed by artistic formats that are characterized by an academic formulation of the brand of Arab institutions.Results of the article : -1- Man, especially the artist and designer, has borrowed and employed all the natural, industrial and harmonic symbols surrounding him in most of his daily life.2- The symbol is no longer only for cognitive communication, but it had another function, which is deliberative through commodification, an identity associated with the product and private ownership .
{"title":"Formal indications in the trademark (Arab institutions as a model)","authors":"Hashem Zeki, Muhammad Ishtiaq Ali, Qais Eesa","doi":"10.59767/2023.8/26.3","DOIUrl":"https://doi.org/10.59767/2023.8/26.3","url":null,"abstract":"emantics and ways to employ them in the brand have made a big difference in the field of visual art in general since ancient times, I mean since the first practices of ancient man on the walls of caves, he was satisfied with encoding things and writing them down from his daily observations, so they seemed simple and spontaneous, from here symbolic signs and signs were formed and became a semantic meaning and a functional purpose in his life. Art had the largest share through the employment and borrowing of these forms in contemporary works of art, no matter how distinctive the work of art is, we find its root and basis based on the forms provided by nature, we see its clear impact on the brand and what is borrowed to form a clear visual discourse with a beautiful vision with a functional dimension according to a system governed by artistic formats that are characterized by an academic formulation of the brand of Arab institutions.Results of the article : -1- Man, especially the artist and designer, has borrowed and employed all the natural, industrial and harmonic symbols surrounding him in most of his daily life.2- The symbol is no longer only for cognitive communication, but it had another function, which is deliberative through commodification, an identity associated with the product and private ownership .","PeriodicalId":148490,"journal":{"name":"Basrah Arts Journal","volume":"84 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116404032","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}
The research deals with (the ceremonial preoccupations in the performances of the Iraqi playwright) the Iraqi ceremonial theater with a specificity that emerges as an Arab theatrical style that relied on reviving the legacies and popular folklore drawn from mythology and tales, as what was called quasi-dramatic phenomena as the foundations of an authentic Arab theatrical style employed in harmony with dung overlap with the ritual manifestations of The ceremonial dimensions are seen as one of the most important formative elements of the Arab ceremonial theater and one of the foundations of rooting. Those appearances, which came as constructive foundations, produced an idea that was reflected in the theatrical show with its festive style with an Arab identity, and that this reflection was represented in the operational structures of the theatrical show according to the Arab theoretical vision, and the research had focused on the representations of the festive appearances. The methodological framework came to review the research problem, the need for it and its importance in addition to defining and defining the terms. As for the second chapter, it came on two sections. Under the title (Celebratory Visions in Arab Theater Performances), the researcher went to create an approach between celebration and celebration in its philosophical dimension and the theatrical artistic work in Arab theater performances. The researcher adopted the descriptive, analytical and intentional approach in selecting and processing the sample in the third chapter of the research, and adopted the indicators that resulted from the theoretical framework as a tool for measurement.
{"title":"Ceremonial preoccupations in the performances of the Iraqi playwright","authors":"Mona Hassan Karim, Nasir Hashim, Badan","doi":"10.59767/2023.8/26.5","DOIUrl":"https://doi.org/10.59767/2023.8/26.5","url":null,"abstract":"The research deals with (the ceremonial preoccupations in the performances of the Iraqi playwright) the Iraqi ceremonial theater with a specificity that emerges as an Arab theatrical style that relied on reviving the legacies and popular folklore drawn from mythology and tales, as what was called quasi-dramatic phenomena as the foundations of an authentic Arab theatrical style employed in harmony with dung overlap with the ritual manifestations of The ceremonial dimensions are seen as one of the most important formative elements of the Arab ceremonial theater and one of the foundations of rooting. Those appearances, which came as constructive foundations, produced an idea that was reflected in the theatrical show with its festive style with an Arab identity, and that this reflection was represented in the operational structures of the theatrical show according to the Arab theoretical vision, and the research had focused on the representations of the festive appearances. \u0000The methodological framework came to review the research problem, the need for it and its importance in addition to defining and defining the terms. As for the second chapter, it came on two sections. Under the title (Celebratory Visions in Arab Theater Performances), the researcher went to create an approach between celebration and celebration in its philosophical dimension and the theatrical artistic work in Arab theater performances. \u0000The researcher adopted the descriptive, analytical and intentional approach in selecting and processing the sample in the third chapter of the research, and adopted the indicators that resulted from the theoretical framework as a tool for measurement.","PeriodicalId":148490,"journal":{"name":"Basrah Arts Journal","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122073980","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}
The artwork was born from the womb of flat surfaces that have neither specific direction nor destination. It emanates from infinite chaotic surfaces, overlapping and contradicting, intertwining and entwining vertically and horizontally in ways that are not subject to logical geometrical norms. Despite all the chaos and emptiness, existence remains steadfast in its elements and its primitive colors because of its interchangeable event. Art does not differ from nature. Perception brings them together in a mixture of colors on the surface of the painting. The artist transfers his infinite perceptions to an expression of what draws man to the world to endless ideas and sensations expressing the instinctive inattentiveness of existence. As it is an artistic event multiplying the desire to seek victory in the world and belief in life in its diversity, dissonance, and multiplicity. It validates life against death, consolidates fun, and exalts joy and forces of nature against transcendence and divine ethics.
{"title":"The aesthetic of nomadism and the logic of perception in creative action (Recurrences in the geographies of the sensed)","authors":"Chaima Mohammed, Al-Taher Zaafouri","doi":"10.59767/2023.8/26.2","DOIUrl":"https://doi.org/10.59767/2023.8/26.2","url":null,"abstract":"The artwork was born from the womb of flat surfaces that have neither specific direction nor destination. It emanates from infinite chaotic surfaces, overlapping and contradicting, intertwining and entwining vertically and horizontally in ways that are not subject to logical geometrical norms. Despite all the chaos and emptiness, existence remains steadfast in its elements and its primitive colors because of its interchangeable event. Art does not differ from nature. Perception brings them together in a mixture of colors on the surface of the painting. The artist transfers his infinite perceptions to an expression of what draws man to the world to endless ideas and sensations expressing the instinctive inattentiveness of existence. As it is an artistic event multiplying the desire to seek victory in the world and belief in life in its diversity, dissonance, and multiplicity. It validates life against death, consolidates fun, and exalts joy and forces of nature against transcendence and divine ethics.","PeriodicalId":148490,"journal":{"name":"Basrah Arts Journal","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130051604","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}
This research deals with the concept of Praxis in the thought of (Gramsci), in order to identify the function that is related to Praxis as a critical practical practice, represented in the human activity of a procedural nature, which is related to many aspects of life, so that it includes all practices, including the practices of the artist, With the meaning that this artistic practice bears, it is involved in the various moments of the creative activity of the artist, which stems from a deep awareness and critical understanding in dealing with issues in society. Accordingly, the structure of the research was established within four chapters - the first chapter (the methodological framework) contained the research problem, which the researcher summarized by asking him - Monitoring artistic practices, which are related to Praxis, as a human activity and a critical work aimed at change in society? The importance of the research and the need for it were also determined, and the aim of the research was to reveal the representations of Praxis in contemporary art as a critical practice that affects society. As for the second chapter (the theoretical framework) - it included two sections - dealing with the first topic: (the compatibility between theory and practice, in Gramscian Praxis). The second topic dealt with (praxis as a critical practice and its effectiveness in society). The third chapter (research procedures) included defining the research community, and (3) artworks were selected, which the researcher analyzed as a sample for the community. While the fourth chapter contained (results and conclusions), presented by the researcher. The most prominent of which are: 1- Praxis represents human activity of a procedural nature directed towards practical functions, which lie in the practical relationship with the tangible world. 2- Praxis, as a critical process, combines aesthetic practice and critical practice in some artistic achievements, in a way that makes these works of human tendency and social and critical content, according to a character opposed to the current conditions in society.
{"title":"Praxis (Gramsci) as a critical practice, and its representations in contemporary art","authors":"Sami Kassem Nbet, Nasser Samari Jaafar","doi":"10.59767/2023.8/26.1","DOIUrl":"https://doi.org/10.59767/2023.8/26.1","url":null,"abstract":"This research deals with the concept of Praxis in the thought of (Gramsci), in order to identify the function that is related to Praxis as a critical practical practice, represented in the human activity of a procedural nature, which is related to many aspects of life, so that it includes all practices, including the practices of the artist, With the meaning that this artistic practice bears, it is involved in the various moments of the creative activity of the artist, which stems from a deep awareness and critical understanding in dealing with issues in society. Accordingly, the structure of the research was established within four chapters - the first chapter (the methodological framework) contained the research problem, which the researcher summarized by asking him - Monitoring artistic practices, which are related to Praxis, as a human activity and a critical work aimed at change in society?\u0000The importance of the research and the need for it were also determined, and the aim of the research was to reveal the representations of Praxis in contemporary art as a critical practice that affects society. As for the second chapter (the theoretical framework) - it included two sections - dealing with the first topic: (the compatibility between theory and practice, in Gramscian Praxis). The second topic dealt with (praxis as a critical practice and its effectiveness in society). The third chapter (research procedures) included defining the research community, and (3) artworks were selected, which the researcher analyzed as a sample for the community. While the fourth chapter contained (results and conclusions), presented by the researcher. The most prominent of which are:\u00001- Praxis represents human activity of a procedural nature directed towards practical functions, which lie in the practical relationship with the tangible world.\u00002- Praxis, as a critical process, combines aesthetic practice and critical practice in some artistic achievements, in a way that makes these works of human tendency and social and critical content, according to a character opposed to the current conditions in society.","PeriodicalId":148490,"journal":{"name":"Basrah Arts Journal","volume":"93 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124237230","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}
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