Mycelium-Based Composites in Art, Architecture, and Interior Design: A Review

Mycelium-based composites (MBCs) have attracted growing attention due to their role in the development of eco-design methods. We concurrently analysed scientific publications, patent documents, and results of our own feasibility studies to identify the current design issues and technologies used. A literature inquiry in scientific and patent databases (WoS, Scopus, The Lens, Google Patents) pointed to 92 scientific publications and 212 patent documents. As a part of our own technological experiments, we have created several prototype products used in architectural interior design. Following the synthesis, these sources of knowledge can be concluded: 1. MBCs are inexpensive in production, ecological, and offer a high artistic value. Their weaknesses are insufficient load capacity, unfavourable water affinity, and unknown reliability. 2. The scientific literature shows that the material parameters of MBCs can be adjusted to certain needs, but there are almost infinite combinations: properties of the input biomaterials, characteristics of the fungi species, and possible parameters during the growth and subsequent processing of the MBCs. 3. The patent documents show the need for development: an effective method to increase the density and the search for technologies to obtain a more homogeneous internal structure of the composite material. 4. Our own experiments with the production of various everyday objects indicate that some disadvantages of MBCs can be considered advantages. Such an unexpected advantage is the interesting surface texture resulting from the natural inhomogeneity of the internal structure of MBCs, which can be controlled to some extent.

Nikos Kazantzakis’ Unshot Adaptations of Don Quixote and Decameron

This article examines two of Nikos Kazantzakis’ unshot screenplays of the early 1930s: his adaptations of Cervantes’ Don Quixote and Boccaccio’s Decameron, kept in typed manuscripts at the Nikos Kazantzakis Museum Foundation in Iraklion, Crete. The article analyses Kazantzakis’ Don Quixote and Decameron in the contexts of early talking cinema and his ideas of the image-language relationship. Written at a time when the artistic value of talking cinema was still debated, Kazantzakis’ adaptations demonstrate that he sought to express ideas with images rather than dialogue (Don Quixote) and use sound as a creative element (Decameron) in ways alluding to Eisenstein’s 1928-1929 writings, with which, as evidence suggests, the Greek author was familiar. Thus, Kazantzakis’ Don Quixote and Decameron show how a technological development in film history – the coming of sound – and the Soviet film theory influenced this author’s adaptation techniques, while also enhancing our understanding of his creative career as well as the worldwide resonance of Cervantes’ and Boccaccio’s literary milestones.

A Study on Hair Art with the Motif of Winter Flowers

The purpose of this study is to increase the artistic value of hair art. And it is about providing basic data and expanding contributions to follow-up research. Hair art works reinterpret the inner beauty of winter flowers that bloom in full bloom in the cold winter. The research method collected prior studies and references based on winter flowers. Also, we selected four types of winter flowers and analyzed their shapes and colors. I created 4 pieces of hair art. As a result, the colorful color of work 1 increased the aesthetic effect due to its high chroma. Works 2 expresses the elegance of irregularly blooming petals on a single stalk. In work 3, warm yellow flowers are soft and cozy on a scrawny tree. The flower in work 4 is seductive navy purple. And the large and small flowers were placed stably with increased concentration. In conclusion, the possibility of creating hair art from a new perspective was confirmed by applying several colors with white wigs. In future research, we look forward to the possibility of combining hair art with nature motifs and re-lighting it with formative art to satisfy its value.

Z dziejów recepcji Luisa Vaz de Camõesa w Polsce: Adam Bełcikowski czyta "Luzjady" [Adam Bełcikowski, "Luzjady" Camõesa]

The paper presents Adam Bełcikowski’s study about 'Os Lusíadas 'by Luis Vaz de Camões. Bełcikowski’s text was issued in „Nowa Reforma” in Krakow (1891, nos. 26–27, 29–32, 35–37), soon after the release of the translation of 'The Lusiads' into Polish by Zofia Trzeszczkowska (Adam M-ski) on the Polish book market. The critic made an attempt at familiarising the Polish reader with the poem, indicating its ideological-artistic value.

Inspiracje sztuką i kulturą Podhala w powojennej galanterii i biżuterii polskiej

Abstrakt: Zainteresowanie sztuką ludową Podhala wśród polskich artystów i badaczy sięga lat osiemdziesiątych XIX wieku. Wynikało ono z dostrzeżenia artystycznej wartości tworzonych tam dzieł oraz poszukiwań tzw. sztuki narodowej i rodzimej, tak bardzo ważnych dla polskiej kultury i tożsamości. Inspiracje kulturą materialną i artystyczną Podhala przyczyniły się m.in. do wielkiego sukcesu polskiej ekspozycji na Wystawie Sztuki Dekoracyjnej w Paryżu w 1925 roku. Zainteresowanie to nie zmniejszyło się po 1945 r., ale przybrało inne formy. W tym czasie powstawały w Polsce liczne spółdzielnie, których zadaniem było tworzenie przedmiotów codziennego użytku i dzieł sztuki ludowej, zgodnie z lokalną tradycją rękodzielniczą, ikonograficzną, zdobniczą itp. Pewną część produkcji stanowiła tzw. metaloplastyka – sprzączki do pasków, spinki do koszul, zatrzaski do torebek, noże, okucia fajek i in., których forma była inspiracją dla artystów tworzących dzieła biżuterii – bransoletki, broszki, wisiory itp. Asortyment ten uzupełniony został także o inne elementy – wykonywane z blachy, kości bydlęcej, galalitu i drewna broszki, wisiorki i breloki, które były przede wszystkim pamiątkami przywożonymi z tego bardzo popularnego regionu turystycznego. Summary: The interest in the folk art of the Podhale region among Polish artists and researchers dates back to the 1880s. It resulted from the perception of the artistic value of the works created here, as well as the search for the so-called national and native art, very important for Polish culture and national identity. Inspiration with the material culture of Podhale came from, among others a great effect in the form of the success of Polish art at the Exhibition of Decorative Art in Paris in 1925. This interest did not diminish after 1945, but took other forms. At that time, numerous cooperatives were established in Poland, whose task was to create everyday objects and works of folk art, in line with the local tradition in terms of technology, iconography, ornaments, etc. In Podhale, among many produced works, a certain part was the so-called metalwork – belt buckles, shirt clips, purse fasteners, knives, etc., the shape of which was an inspiration for artists creating bracelets, brooches, pendants, etc. This assortment was supplemented with other items – made of sheet metal, bovine bone, galalite and wood, brooches, pendants, and key rings, which were primarily souvenirs brought from this very popular tourist region.

MODUSI ESTETSKE OBRADE, PERFEKCIONIZAM I DIVLJENJE KAO PREDIKTORI UMETNIČKE VREDNOSTI

The aim of the research was to examine whether the perceived artistic value of the paintings can be predicted by perfectionism and awe, as well as with the modes of aesthetic processing (H - harmony and R - redundancy). The convenience sample was used and it consisted of 92 respondents (Nmale = 10, Nfemale = 82), with average age of 24.65 years (SD = 6.89). Following instruments were used: Scale of Positive and Negative Perfectionism, Awe Experience Scale and semantic differential scales used to assess harmony, redundancy and distance, as well as the perceived artistic value. Stimuli were paintings from nine artistic movements: Renaissance, Romanticism, Impressionism, Expressionism, Post-impressionism, Fauvism, Cubism, Abstract Art and Surrealism. For each of these movements three paintings of one most prominent representative were chosen (omitting the most famous pieces) in order for the quality of artwork to be uniform. Hierarchical linear regression was used for data analysis. Predictors in the first step were modes of aesthetic processing (H and R), perfectionism in the second step, and subscales of awe were added in the third step. The criterion is artistic value. The model composed of H and R explains 26% of the total variance of artistic value (p < .01). The suscales of perfectionism and awe do not make a significant contribution to prediction. A statistically significant single predictor is R, redundancy (β = .39, t = 2.59, p = .01). The potential existence of mediation was also examined; however, the results of the analysis indicate that there is no statistically significant mediator effect. Keywords: perfectionism, awe, modes of aesthetic processing, Harmony, Redundancy

The Interpretation Of Chinese Empress Dowager Cixi's Image In The Portraits Of American Artists

The Chinese themes in Early American art have long been obscured under the veil of Japonisme, Aesthetic movement, boundary-pushing modernism and more significantly because of the political circumstances - decline of China as an empire and complicated Chinese-American interconnections. One of the favoured theme of American academism at the period of the late 19th- early 20th centuries were genre scenes, street scenes, portrait d’intérieur , portraits, still life works related to China and Chinatowns. Nonetheless, the American press through the imagery created by illustrators and caricaturists was largely involved in interpretations of Western encounters with Chinese culture from the highlighted negative light, either being deeply affected by anti-Chinese flows or fuelling those xenophobic moods. Consequently, a few American artists featured Chinese people and Chinese settings from the perspective of admiration of their “otherness”. Only two American artists- Katherine A. Carl and Hubert Vos, succeeded to pave their career path to the Chinese court, enriching American arts of the early 1900s with the unprecedented depictions of high rank Chinese and the scandalously renowned empress Dowager Cixi (1835-1908) in the positive light of fascination. A number of publications have viewed and examined those portraits from the angle of "political self-fashioning”, but our research is another academic attempt to place those oil paintings in the context of China-related subject matter and its extension in the rising American art of the previous century, stressing their artistic value, function and their relations to the intended audiences.

VISUAL EXPERIENTIAL IN DIGITAL DOCUMENTATION FOR RURAL TOURISM PROMOTION OF BA’KELALAN, SARAWAK

This paper aims to share some research information based on the visual experiences during the field trip to Ba’Kelalan, Sarawak. Ba’Kelalan is a traditional village of the Lun Bawang community and is well-known as an eco-tourism area in Sarawak. All the experiences were documented using the digital documentation tools and have been recorded with reference to the formalistic artistic methods; in ensuring the visual effects have the best quality and high artistic value. The results will be discussed based on the implemented process and the impact of digital document preparation through experiential learning theory. Next, this article will provide new ideas and visual insights that can help data enhancement, especially in the promotion of the rural tourism sector.

Jumputan Batik for The Family of PKK RW 02 Kelurahan Baktijaya, Kecamatan Sukmajaya, Depok

Batik is a craft that has high artistic value and has become part of Indonesian culture which is a legacy of the ancestors of the Indonesian nation which has been widely known in the world. The potential of batik can be used to foster interest in the archipelago's literature, as a historical heritage that is still admired by all levels of society. One of the relics that is also strategic to be developed is wastra jumputan. One of the easier and faster batik fabrics to make and will be easily learned by the public. This jumputan batik training was applied to the families of RW 02 PKK women, Baktijaya Village, Sukmajaya District, Depok. This jumputan batik training was a follow-up to the previous training which was only held at the RT level. Through training with video recording tutorials and online methods, it will be one method of growing public interest in recognizing and developing the potential of Indonesian literature without having to meet in person. The results of the training show that the most prominent interest in jumputan batik is the motifs it produces. Various motifs can be produced with several manufacturing techniques that are relatively easy to master by the trainees. With the Covid-19 pandemic, this batik training is not like before, which is in one place but at home each and also followed by the families of PKK mothers by following the instructions we have given. As the end result of this effort, people who initially did not know or had followed this method of making jumputan wastra, in just two hours the community could master it well in producing various jumputan cloth motifs.

Semiological Interpretation of the Electroacoustic Music Phenomenon

As evolving technologies become more massive and more easily accessible to virtually every user, as the speed of the global Internet grows faster and more, the composer’s relationship with these capabilities takes on new meanings. It was not so much the issues of accessibility and quantity that became relevant, but rather the issues of quality, artistic value, and the uniqueness of creation. This article attempts to review the principles of composing electroacoustic music based on semiological theory. Music, as a message, passes through the various stages of creation, transforming the consciousness of both its sender and receiver. It is important to capture, highlight and define these processes. The identification of oneself as a creator and a clear, unambiguous perception of one’s work provides a clear ideological and esthetic basis for new means of composition. Electroacoustic music opens the way to hear any possible sounds, infinity of sounds — from realistic to surreal. The listener’s traditional connection to physical sound is often severed: electroacoustic sound forms and qualities usually do not reveal the original sound source and cause. Composers face the dilemma of how to ground a new esthetic field in the wide-open world of sounds, how to develop more clearly defined methods of sound creation, how to understand and explain electroacoustic music.