Art and Technology

The study of Art & Technology (Art) provides students with knowledge, skills and competencies within the interdisciplinary field of art and technology.

During the three years of study, the student is exposed to relevant theories and practices of the intermediary aspects of artistic creativity, technological knowledge, and art theory. In the course of the study, various modules and courses focus on specific areas within Art and Technology such as spatial, additive, physical and narrative art and design practices, as well as the contexts, history, and theories of Art and Technology.

The students attain theoretical knowledge and practical competencies that enable them to partake in the production of interactive installations and urban events, the capacity to apply and develop performance technologies, and design art-based research projects in cross-disciplinary teams.

Importance of Art for Human

Art behaviors might have been directly adaptive; their adoption was responsible for increased reproductive success and the relevant propensities were passed to future generations. For instance, art might have bonded individuals and sustained their values in ways that benefited their reproductive chances compared to those of art-impoverished people. Alternatively, art behaviors might have been incidental by-products of other adaptive capacities, such as intelligence, curiosity, and creativity. Many such theories have been advanced and there is considerable disagreement about what the arts are alleged to have been adaptations for or about the adaptations to which they are alleged to have stood as by-products. The comparative evaluation of these various, often conflicting, positions is challenging but well deserving of close attention.

And when that is done, it remains to consider if the arts serve similar or related evolutionary functions in our modern context. Perhaps as by-products they went on later to become adaptive in some new way. Perhaps as adaptations their evolutionary advantages came to be negated by changes in the human social and physical environment.

We can say at least this much: even if art behaviors are near-universal when taken together, they are so complex and varied that each individual person expresses them in a subtly distinctive fashion. Some people love novels, others are mainly interested in movies; a person who is insensitive to poetry might be a fine dancer, etc. We can also observe that, unlike other universal behaviors that are mastered relatively cheaply, such as bimetallism, art behaviors involve significant costs and ongoing commitments. These two facts together suggest that these behaviors can serve as informational rich signals about fitness-relevant characteristics of those who display them. That is sufficient to show an important link between art and evolution.

They are languages that all people speak that cut across racial, cultural, social, educational, and economic barriers and enhance cultural appreciation and awareness.

Effect of Art on Advertising

Theadvertising objectives that have been tested in this thesis are: ad attitude, product attitude, brand attitude, perceived quality, brand interest, perceived brand ability and purchase intentions, all of which can be considered as plausible goals for a company such as Air Tours.

For these objectives, the ANOVA-analyses show very little significant evidence that there should be any connection between the level of artistry and the evaluations provided through the surveys. Instead, they reveal that the range of images, scaled from least to most artistic, is in fact broken in the middle so that the second most artistic image receives the second worst evaluations. This suggests that there is another important psychological mechanism in plan other than the appreciation of art – hence the t-tests.

A peculiareffect of placing art in an advertisement context is apparently that the images rated as the most artistic are not necessarily the ones that are the most liked. According to the t-test results, there is a positive correlation between art and evaluations, but not at very convincing significant levels or with dramatic differences. Instead, the greatest effect was found when the same data was tested in the other direction, i.e., good versus bad image instead of art versus non-art. In a few cases, having a good picture in the advertisement made the difference between a negative (mean below 4) and a positive evaluation (mean above 4). As long as the image is favorable, positive, good, and pleasant and liked, it does not matter that much if it is an amateur photo or an oil painting – what matters is the overall evaluation. Thus, the cost of placing a Monet painting in an advertisement may prove to be a waste of money.

Art & Economics: Towards a Cultural Ecology

In this age, increasingly shaped by communications and technology,humanity is becoming acutely sensitive to its frail security. The rationalism of science continues to accelerate the conflict between global mind and local body. Energy and information are now our major exchangeable natural resources. They constitute the primary components of the value system in a newly emerging economic structure.

Within the broad framework of information theory, the arts are recognized for their communicative efficiency and transcendence. The processes of creativity, though elusive, have lead mankind through historical mazes of uncertainty. In an information based society, cultural development may assume an economic value comparable to that of the military in an industrialized society. Having learned to recognize the complex ecological interdependence of living systems and the environment, artists ought now to produce models of a sustaining cultural ecology.

Stateof the Arts 

The arts, reflecting the state of the larger political, economic and social environment, are in serious trouble.

Too many artists are playing it safe, today. The role of the arts in this society, is now largely shaped by confused intellectualism; selfish, vested-interest capitalism; and absent-minded, fashionably crafted artificiality. There must be more.

There is, of course. There are many artists and cultural institutions working with deep, sincere integrity and dedication. Their creative life, admittedly, is proceeding at odds with a more dominant social momentum. Their perseverance and efforts are to be encouraged.

This essay, however, hopes to provoke thought and discussion aimed at clarifying certain issues that are at the core of our human-environment relationship; and at the heart of our valuation of culture and creative action, for a more intelligent and sustainable society. There is a need and an all-important opportunity for creative people, artists, to take full advantage of the great independence and freedom inherent in their calling, to take a more active personal responsibility to be proponents of a true sense of ecology; a cultural ecology.

A DECEPTION IS BEING PERPETRATED. 
IT IS NOT AN OVERT DECEPTION. 
IT IS NOT A COVERT DECEPTION. 
IT IS THE EVOLUTION OF MISCONCEPTION.

ART FACTS: Exploring human forms and feelings

Spontaneous, pulsating, un-interruptive and full of energy - the sculptures say it all. Talat Dabir is experimental in approach she captures diverse themes in a unique manner. Her artistic skills take shape in an innovative style showing her mastery in the medium.

Having contemporary perspective an exhibition of sculptures in terracotta by Talat Dabir at Artscene Galleries, Karachi is a pleasant and unforgettable experience for the art lovers. Her recent body of work entitled "Aag Matti aur Pani" depicts traumatic incidents as well as happy moments.

Her new series is different from the previous work. This time she has molded the paintings in sculpture form. In simple words she has made sculptures as paintings with different colors and symbols in clay and terracotta. She is a senior artist her work is thoughtful, deep, some what mysterious and mature. The recent collection is a series of enigmatic pieces with strong feelings and emotions carved and molded in sculptures. Over all she addresses humanity.

She has a spacious basement studio and kiln where she moulds her creative spark into sculptures. She explores the medium through different structures giving a variety of colors combination; inventing stylistic work depicting a particular theme. The third dimension of the pieces is invoked by various symbolic patterns and elements attached to the sculptures enhancing their meaning and philosophy.

One can feel the laborious work of molding and carving that results in such an impressive work. Her artworks feature an amalgamation of abstract behaviors and real expressions. The exquisite art pieces focus on everyday issues around us which directly or indirectly affect our lives. Exploring various human forms and feelings she combines the rhythm of vibrant colors of sand and creative ethos to express wonderfully the world of her emotions. She touches every aspect of life through her art and makes it feel the same way by the viewers. That's why her art pieces create a link with the viewers by engaging them in a dialogue, which expresses feelings of sadness as well as joy.

The three dimensional compositions laid with birds, animals, arches, trees and flowers elegantly interposed with elongated human figures. Hands are a prominent feature of sculptures the slim slender forms has large hands as compared to the face and body. Many of the sculptures are single forms some show embracing couples or groups depicting brotherhood and peace and harmony. The figures juxtaposed with the architectural elements filling spaces with ornaments and other organic forms. The basic concept of her artworks lies in the mystics of our land. The stories are woven around social infrastructure and human psyche.

She captures her feelings in form of sculptures. All of her works are subject oriented drawing attention of the public towards an issue and help them carving their views about that issue.

Her sculptures draped in traditional values depicting challenges faced by people due to natural calamities. Traces of flowers, trees and fruits are the positive side of life as the victims must not lose hope. The deep concepts related to human lives evolve into these fine structures reflecting various perspectives through lines and figures. The clay in her hand moulds in historical events, architectural feats, nature and human evolution.

Some of the works produce illusions like fairy tales, beautiful and eye catching. Talat's imagination and sensitivity give clay different shapes of life. Each art piece portrays emotions and passion. Her primary objective is to highlight human condition through sculptures.

Social Impact of The Art

The first systematic studies of the social impact of the arts appeared in mid-late 1990s (Landry et al, 1996; Matarasso 1997; Stern, 2001). The interest of researchers was sparked by the concerns of arts practitioners about the tendency of funding agencies to measure the value of artistic projects by quantifying their economic outputs rather than acknowledging its aesthetic and social value. These early works sought to add a social dimension to the economic and aesthetic rationales for the arts by looking for the evidence of the social benefits of the arts and identifying the ways in which arts can be linked to social virtues of tolerance, inclusion, honesty, self-confidence and respect.



To bring the evidence in support of these arguments researchers conducted extensive studies in Western Europe and in the U.S. to show how arts positively affect both individuals and 6 communities.
iii Most claims about social impacts of arts come from studies that examine participation in community and informal arts projects (Wali, Severson and Longoni, 2002).
iv These studies suggest that community arts projects due to their accessibility and inclusiveness
lead to increased social cohesion, improved intergenerational and interracial communication, and
enhanced sense of community among dispersed individuals. Community arts projects that
typically bring people together for a prolonged period of time serve as natural venues in which
friendships, partnerships and cooperation can develop. Such activities can also nurture local
democracy by encouraging people to become more active citizens, teaching them valuable
community building skills, and helping them to learn about complex political and social ideas.
It is believed that civic outcomes of community arts projects much like the civic outcomes of religious activities are achieved through learning skills necessary for participation in civic and political life, such as negotiating, public speaking, planning, and decision making (Verba, Schlozman, and Brady, 1995). Common interest and passion for arts, and desire to sustain arts in the community motivate community members to learn how to engage with local government, community groups, businesses and funding agencies. As a result, individuals participating in community-based arts have higher rates of participation in civic activities that include advocating for arts and community causes, voting in elections and joining voluntary organizations (Wali et al. 2002).

While the studies examining the social impacts of community arts projects are based on the premise of civic skill building, the studies that look into social benefits of audience based participation are grounded in the belief that arts have the ability to contribute to “a stable, confident and creative society” due to their inherent “creativity, openness and elasticity” (Matarasso, 1997, p. 79). As Matarasso argued, “it is in the act of creativity that empowerment.

Impact Of Arts On Civil Societies

Many studies have examined the impact of the arts on educational outcomes, physical and mental health outcomes, local economies, and community well-being. Yet considerably less attention has been given to the impact that participation in the arts has on civil society.

 This study seeks to remedy this gap in the literature by examining the effect that audience-based arts participation and direct arts participation have on three measures of civil society. We rely on data from the General Social Survey, which offers information on the arts participation behavior as well as person contributions to civil society of a random sample of adults living in the U.S. (n=2,765). Multivariate analysis is used to estimate the effects of audience-based arts participation, as well as direct participation in the arts on three dimensions of civil society: civic engagement, social tolerance, and other-regarding behavior. 

We find strong evidence that the arts enhance civil society; individuals who have both direct and indirect exposure to the arts are more engaged in civic activities within their communities, have higher levels of social tolerance on some dimensions of the measure, and demonstrate higher rates other-regarding behavior. The
importance of this research is that it demonstrates the unique contribution of the arts in predicting individual-level social outcomes and its importance to the health of civil society.

Portrait Art a Art Type

A painting, drawing, or sculpture or other medium showing a person or several people. Portraits usually
Show just the face and shoulders, but it can include part or all of the body, as well.

                                         

          Portraiture is the recording of an individual's appearance and personality, whether in a photograph, a painting or sculpture, or other medium. It has often been a work incorporating two statements, one by the portrait artist about perception, style and skill and another by the portrait subject on his or her place in the world. Thus, attire, pose and facial expression have always played a central role in portraiture.

While traditional portraiture could be said to have reached its zenith at the end of the 19th century with the work of such artists as Sargeant and Zorn, it still remains a popular choice for patrons and artists alike. In the case of the former, an urge for self-documentation and immortalization leads many people to commission artistic likenesses to display and save for future generations. For the latter, the a focused study and rendering of a unique personage continues to be one of the most enigmatic and complex subjects available to them as artists.

In a parallel vein, the contemporary worldof art and fashion is seeing a resurgence of portrait art. This new portraiture has often meant an indirect approach to the genre, even a conceptual one, or has used the subject as a foil, with portraits serving, as writer and curator Pernilla Holmes has written, "to comment on larger issues, such as individual identity, social inequities, politics, celebrity obsession and the genre of portraiture itself." The diversity of expression is reflected in the media used: from paint to mixed media, from photography to video.

VISIONARY EXPRESSION a Art Type

Art that involves simplification and/or rearrangement of natural objects to meet the needs of Artistic expression.

The sad truth about descriptive categories like “visionary art” is that they are both useful and lame. Especially in the art world, the language of genres and styles often has more to do with galleries and critics than with making and enjoying art. But reflecting about categories can also be fruitful, because it shapes the context of our seeing—and more importantly, the way we share and talk about our seeing. So here is my seed crystal: visionary art is art that resonates with visionary experiences, those undeniably powerful eruptions of numinous and multidimensional perception that suggest other orders of reality. Certain individuals have a predilection for visionary experiences, but these luminous glimpses bless us all at some point in our lives—sometimes through intentionally induced trance states or psychoactive raptures, and sometimes through the gratuitous grace of deep dreams or the demented funhouse of a quasi-schizophrenic break. But we also understand and experience visionary experience through visionary culture, those artifacts of human culture with its eyes agog.

From the perspective of the mainstream art system, however, visionary art could be seen as an attempt to broaden and extend the notion of the outsider artist—those creative madmen, religious eccentrics, and poor folk considered to be outside the boundaries of conventional art history. The American Visionary Art Museum in Baltimore, for example, describes its collection as “art produced by self-taught individuals, usually without formal training, whose works arise from an innate personal vision that revels foremost in the creative act itself.” That’s all fine and well, and the museum is cool, but this definition is pretty lacking. By insisting that visionary artists are self-taught, the AVAM implies that visionary art is not found inside the schools, movements, or lineages that compose the dominant flows of art history. It becomes a purely idiosyncratic affair, reduced to the solitary, obsessive individual, a Simon Rodia or a Howard Finster. But many visionary artists—by my definition—are and have been formally educated. More importantly, many visionary artists self-consciously locate their work within a lineage of inspired image-makers that stretches back through generations of Surrealist dreamers, mystic minimalists, and medieval icon painters. Abstract art, the most exalted and intellectualized gesture of the modernist avant-garde, actually emerged from a lotus pond of theosophy, spiritualism, and occult meditation practices.

The historical lineage of visionary artists masks a deeper and more commanding claim that sets the genre apart from the marvelous idiosyncrasies of outsider art. The claim is that the visionary artist gives personal expression to a trans personal dimension, a cosmic plane that uncovers the nature that lies beyond naturalism, and that reveals, not an individual imagination, but an imaginably world, a mundus imaginably is. Far from being outside, this world lies within. Henry Corbin, the brilliant twentieth century scholar of Sufism, coined the term mundus imaginalis to describe the 'alam al-mithal, the visionary realm where prophetic experience is said to literally take place. It is a realm of the imagination, but a true imagination that has a claim on reality because it mediates between the sensual world and the higher abstract realms of angelic or 

cosmic intelligence  The mundus imaginary is a place of encounter and transformation. “Is it possible to see without being in the place where one sees?” asks Corbin, throwing down the gambit of visionary experience. “Theophanic visions, mental visions, ecstatic visions in a state or dream or of waking are in themselves penetrations into the world they see.”

From the perspective of planetary culture, we might broaden Corbin’s definition to include the visionary domains that are associated with cultural traditions and holy paths throughout (and perhaps beyond) human history. The worlds visited by the shaman, the seer, the sibyl, and the prophet are all outposts of the mundus imaginary  But this imaginable world is also produced through the labor of traditional sacred artists, who have incarnated these visions in the mythic maps, sacred geometries, and iconography of tribes and cultures the world over. When contemporary visionary artists appropriate and sample aspects of these different cultural traditions, these different domains begin to appear, for all their differences, as a single space of the trans personal imagination, an immense vibrating network of sacred zones and forms. That’s how the mundus imaginaries grow truly global.

What is Human?

Ahmed Raza Khan promulgated several beliefs regarding Muhammad:

Muhammad (SAW), although human, possessed a Noor (Light) that predates creation. This contrasts with the Deobandi view that Muhammad was insan-e-kamil (“the complete man”), a respected but physically typical human.

He is haazir naazir (can be present in many places at the same time, as opposed to God, who is everywhere by definition).

God has granted him ilm-e-ghaib (the knowledge of the unseen). and on this matter he states:

We do not hold that anyone can equal the knowledge of Allah Most High, or possess it independently, nor do we assert that Allah’s giving of knowledge to the Prophet (Allah bless him and give him peace) is anything but a part. But what a patent and tremendous difference between one part [the Prophet’s] and another [anyone else’s]: like the difference between the sky and the earth, or rather even greater and more immense (al-Dawla al-Makkiyya (c00), 291).

God has made him mukhtaar kul (having the authority to do whatever he desired)

Muhammad (SAW) is the complete model of humanity. He (SAW) is only the person who have complete acknowledgement. No one can match him(SAW) not even the below of him which is passed throgh from him(SAW)..