Recently, recommendation systems have become one of the important elements for sales and marketing, and their application is almost essential in the shopping and cultural industries. Despite the ...increase in online exhibitions and the growing audience engaging with artworks in digital spaces, the utilization of artwork recommendation systems remains inadequate. Thus, this study proposes an artwork recommendation system, which provides artwork groups based on a visual clustering technique and user preferences with WikiArt datasets. The visual attributes of artworks were extracted using VGG16, and k -means clustering was utilized to group a set of images according to their feature similarities. To generate recommendations, new artworks were randomly selected from particular clusters, taking into account users’ preferences. Then, an experiment was conducted to investigate whether the recommended artworks satisfied the users. The statistical results indicate that users’ perceived satisfaction with the recommended artworks is notably more positive compared to their satisfaction with traditional suggested artworks. Based on this study’s findings, we present implications and limitations for future research.
Sound engineering is one of the fastest-growing branches of music production. The need for a broad-based discussion on the issues constituting the art of sound engineering persists and loses none of ...its relevance, revealing that sound engineering should not be investigated only in the mathematical and physical context (musical acoustics) or the engineering aspect (signal processing and modification).Publications targeted primarily at musicians are few and far between, which is why the mutual understanding for different priorities which effectively concern the same issues faced by the engineer, the acoustician and the musician, seems to be a complex problem and the main concept explored in this publication.This book is intended for musicians or sound directors, but also acousticians and sound engineers wishing to learn how the musicians think. The monograph is also addressed to musicians who intend to record their material in the studio in the near future, but do not possess knowledge on studio construction, studio workflow or the art of recording. It seems important to familiarize the musicians with the reality that awaits them on the other side of the glass, thus fostering their responsibility for the work jointly produced by them – entering the studio – and the sound director.
Previous studies on the emergence and development of video art in Poland have been generally focused on analysis of leading artists' creative concepts and poetics of their works. Such a perspective ...does not address a wider context of artistic culture – a configuration of material, institutional and social conditions od production, distribution and reception of these practices. This has resulted in a simplified, abstracted image of the beginnings of video art in Poland. A broaden and more historical analysis entails, therefore, re-inscribing its subject into a set of local and translocal conditions: material and technical modes of creating and presenting video works, their various forms, a topography of their production and distribution places, their circulation channels, a network of video art contacts, cooperation and exchange, and finally, the location of Poland as one of socialist countries of East Central Europe on the map of artistic and economic centres and peripheries. The task of analysing the video in such an expanded field of artistic culture also needs a broadened concept of “the work made with the use of the video.” The term refers not only to practices usually deemed to be the video art ‘proper,’ such as videotapes, videoinstallations or videoperformances, but also comprises all conceptual and documental forms of existence, distribution and presentation of video works: textual descriptions, schematic diagrams (which sometimes remain the only material form of a work), exhibition boards with photodocumentation, brochures or catalogues etc. The article offers an analysis of a series of exhibitions and projections of video works which took place at the Labirynt Gallery and Bureau of Artistic Exhibitions (BWA) in Lublin between 1976 and 1984. My approach combines in-depth archival research with the methodology of exhibition history, infrastructure and conditions of artistic production studies, and critical reception history. While doing this research ‘groundwork,’ I attempt to establish who actually participated in the discussed artistic events, describe the works which were showcased there and reflect on how they were or could have been interpreted. I take into account translocal and transnational networks of contacts of both institutions, their contributory programme, co-created by numerous artists and curators, as well as the whole of an expanded field of artistic culture: changing conditions of production, distribution and presentation of works made with the use of the video.
This article explores roles of theatre as an urban cultural institution in Haifa’s politics, urban order, and spatial imagination—a “wounded city” (Till, 2012) infused with Jewish and Palestinian ...histories. The case study is the theatre center in Wadi Salib, founded in 1983 in a repurposed Palestinian building. The author proposes a theatre historiography of crises, dimming hopes, and even failure that temper the sense that theatre-makers can enact change, reconcile community wounds, and spark critical discourse. The article explores the theatre center through three spatial dimensions: the historic building and its location, the theatrical space, and then the repurposed Al-Pasha Complex building as a ruin. The author demonstrates how the center’s activity exposed both the wounded urban fabric and the theatre’s institutional inability, even when partly funded by the municipality and the state, to be an active, sustainable agent and partner in reconciliation and healing.
Labirynt Gallery and BWA Lublin Gallery (BWA - Bureau of Artistic Exhibitions), despite its undeniable role in the history of Polish art in the seventies and eighties, has not yet become the subject ...of in-depth research. Instead, it has become a myth, the core of which is the belief that the Labirynt Gallery and BWA Lublin Gallery was a kind of extraterritorial place in the era of the People's Republic of Poland (PRL), excluded from the operation of cultural policy – and thus exempt from boycott after martial low imposed on December 13, 1981. This myth (like any) was constructed ex post, in this case on the grounds of the anti-communist hegemony that dominated the public discourse – including art history – after 1989. In this article, I propose to look at the history of the Labirynt Gallery and BWA Lublin Gallery in 1969–1993 through the social history paradigm. It is an approach that assumes that under communism the relations of power and society are much more complicated than the binary model of enslavement and resistance depicts. Rather, it is a kind of web of interactions, tensions and tactics in which social actors have more or less, but real, agency. In this view, communism is also a broad modernization project, whose agenda included a range of solutions supported by different social strata. I try to use this perspective to show the whole complexity of the functioning of the Labirynt Gallery and BWA Lublin Gallery during the era of the People's Republic of Poland (PRL). Based on extensive source material, so far unexplored, I put forward the thesis that Labirynt Gallery and BWA Lublin Gallery was fully subject to the policy of the authorities. In turn, these were either favorable or indifferent towards it. Director Andrzej Mroczek did not even have to negotiate his program. This is particularly evident in the case of the BWA Lublin Gallery, an institution much more exposed and dependent on local and central authorities than the Labirynt Gallery, which operated as a part of local community center (dom kultury). As I show, in the eighties BWA Lublin Gallery was continuously developing: opening more branches, implementing the established program, smoothly cooperating with the CBWA Gallery. Also, cooperation with the local and central authorities was exemplary. The article tries to show that Andrzej Mroczek was not a dissident (like the myth says), but a political realist. In this vein, I propose to speak of BWA Lublin Gallery as an ‘ark’ for an artistic movement which was dramatically weak institutionally, while politically it was completely indifferent. The Lublin 'harbor' allowed it not only to survive, but also to develop.
