challouf imene | King Faisal University (original) (raw)
Papers by challouf imene
The plastic folk arts come on top of the folk traditions, in practice and originality, and have a... more The plastic folk arts come on top of the folk traditions, in practice and originality, and have a special artistic character that reflects people's lives in all its details. It is a repetition of inherited customs and traditions that clearly and honestly express a specific culture that defines the features of the civilized personality of each society. The Kingdom of Saudi Arabia has a rich folk heritage of a special nature that is characterized by simplicity, ease, and noncompliance with lineage and perspective, which ensured its survival and continuity. The decorations of Saudi folk art bear various artistic values of civilized origin, replete with multiple intellectual and social connotations. It was considered one of the sources of artistic inspiration, which the current research aims to highlight through the study and analysis of the decorative units of Saudi folk art and its reformulation in the creation and development of artistic ceramic products bearing aesthetic and utilitarian values in a contemporary form to emphasize the distinction and richness of Saudi heritage.
The current research seeks to benefit from the aesthetic features of Al-Qatt Al-Asiri art as a ri... more The current research seeks to benefit from the aesthetic features of Al-Qatt Al-Asiri art as a rich folk heritage, find a contemporary design vision for its decorative elements, and employ them within the framework of a self-experiment to enrich the aesthetic dimensions of metal hanging. In this context, the research aimed to provide a contemporary design vision based on the use of Al-Qatt Al-Asiri motifs to enrich the aesthetic dimension of the contemporary metal hanging. The two researchers used the descriptive analytical approach to provide a descriptive study of the artistic characteristics of Al-Qatt Al-Asiri art and analyze its decorations' aesthetic values and plastic features. The research reached a set of results, the most important of which are: The units of Al-Qatt Al-Asiri decorations are distinguished by their aesthetic richness, which allows the designer to draw inspiration from them and employ them artistically within the metal hanging.
International Journal of Multidisciplinary Studies in Art and Technology, Jun 1, 2019
Bien qu'il soit l'élément essentiel dans la représentation photographique, puisqu'il est la surfa... more Bien qu'il soit l'élément essentiel dans la représentation photographique, puisqu'il est la surface sur laquelle sera projetée une prise de vue et sera matérialisée une empreinte (trace) lumineuse, les recherches plastiques concernant le papier photo sensible comme matière étaient très timides : elles étaient limitées au niveau de la représentation et de la plasticité de l'image uniquement. La prochaine pratique plastique, serait une série d'expérimentation à travers laquelle je cherchais à signaler le rôle indispensable du support (papier photo-sensible) dans la « fabrication » de l'image photographique ainsi que la remise en question de sa valeur artistique. Je voulais surtout ouvrir le champ à l'expérimentation dans la pratique de la photographie et remettre en évidence la matérialité du support photographique par l'intermédiaire des interventions personnelles que j'exerçais sur ce papier sensible. Le support qui était l'objet dans lequel s'incorpore et se stocke l'information à transmettre (l'image photographique) deviendra alors suite à mes manipulations un objet, autre, porteur de matérialité qui sera révélée par le geste et la répétition du geste. Ainsi la matérialité du support en soi devient une révélation et la révélation de la matérialité du support, elle, devient l'acte même fondateur de l'image photographique, qui, lors de cette expérimentation va emprunter une nouvelle dimension plastique, dont le principe de base se posera sur le comment d'un aboutissement à la concrétisation de la matérialité du support photographique.
International Journal of Multidisciplinary Studies in Art and Technology, 2019
Bien qu’il soit l’élément essentiel dans la représentation photographique, puisqu’il est la surfa... more Bien qu’il soit l’élément essentiel dans la représentation photographique, puisqu’il est la surface sur laquelle sera projetée une prise de vue et sera matérialisée une empreinte (trace) lumineuse, les recherches plastiques concernant le papier photo sensible comme matière étaient très timides : elles étaient limitées au niveau de la représentation et de la plasticité de l’image uniquement. La prochaine pratique plastique, serait une série d’expérimentation à travers laquelle je cherchais à signaler le rôle indispensable du support (papier photo– sensible) dans la « fabrication » de l’image photographique ainsi que la remise en question de sa valeur artistique. Je voulais surtout ouvrir le champ à l’expérimentation dans la pratique de la photographie et remettre en évidence la matérialité du support photographique par l’intermédiaire des interventions personnelles que j’exerçais sur ce papier sensible. Le support qui était l’objet dans lequel s’incorpore et se stocke l’information à...
A contemporary vision of the Saudi architectural heritage as an introduction to the development o... more A contemporary vision of the Saudi architectural heritage as an introduction to the development of ceramic and textile hangings
Design Engineering, May 21, 2021
Although it is the essential element in the photographic representation, since it is the surface ... more Although it is the essential element in the photographic representation, since it is the surface on which a shot will be projected and a luminous imprint (trace) will be materialized, plastic research concerning sensitive photo paper as a material was very timid: they were limited to the level of representation and plasticity of the image only. The next plastic practice would be a series of experiments through which I sought to point out the essential role of the medium (photo-sensitive paper) in the "manufacture" of the photographic image as well as the questioning of its artistic value. Above all, I wanted to open the field to experimentation in the practice of photography and to highlight the materiality of the photographic medium through the personal interventions that I carried out on this sensitive paper. The medium which was the object in which the information to be transmitted is incorporated and stored (the photographic image) will then become, following my manipulations, an object, another, bearer of materiality which will be revealed by the gesture and the repetition of the gesture. Thus the materiality of the support in itself becomes a revelation and the revelation of the materiality of the support becomes the very founding act of the photographic image, which, during this experiment, will borrow a new plastic dimension, including the principle of base will be posed on the how of a result in the concretization of the materiality of the photographic support.
Psychology and Education Journal , 2021
Although it is the essential element in the photographic representation, since it is the surface ... more Although it is the essential element in the photographic representation, since it is the surface on which a shot will be projected and a luminous imprint (trace) will be materialized, plastic research concerning sensitive photo paper as a material was very timid: they were limited to the level of representation and plasticity of the image only. The next plastic practice would be a series of experiments through which I sought to point out the essential role of the medium (photo-sensitive paper) in the "manufacture" of the photographic image as well as the questioning of its artistic value. Above all, I wanted to open the field to experimentation in the practice of photography and to highlight the materiality of the photographic medium through the personal interventions that I carried out on this sensitive paper. The medium which was the object in which the information to be transmitted is incorporated and stored (the photographic image) will then become, following my manipulations, an object, another, bearer of materiality which will be revealed by the gesture and the repetition of the gesture. Thus the materiality of the support in itself becomes a revelation and the revelation of the materiality of the support becomes the very founding act of the photographic image, which, during this experiment, will borrow a new plastic dimension, including the principle of base will be posed on the how of a result in the concretization of the materiality of the photographic support.
The plastic folk arts come on top of the folk traditions, in practice and originality, and have a... more The plastic folk arts come on top of the folk traditions, in practice and originality, and have a special artistic character that reflects people's lives in all its details. It is a repetition of inherited customs and traditions that clearly and honestly express a specific culture that defines the features of the civilized personality of each society. The Kingdom of Saudi Arabia has a rich folk heritage of a special nature that is characterized by simplicity, ease, and noncompliance with lineage and perspective, which ensured its survival and continuity. The decorations of Saudi folk art bear various artistic values of civilized origin, replete with multiple intellectual and social connotations. It was considered one of the sources of artistic inspiration, which the current research aims to highlight through the study and analysis of the decorative units of Saudi folk art and its reformulation in the creation and development of artistic ceramic products bearing aesthetic and utilitarian values in a contemporary form to emphasize the distinction and richness of Saudi heritage.
The current research seeks to benefit from the aesthetic features of Al-Qatt Al-Asiri art as a ri... more The current research seeks to benefit from the aesthetic features of Al-Qatt Al-Asiri art as a rich folk heritage, find a contemporary design vision for its decorative elements, and employ them within the framework of a self-experiment to enrich the aesthetic dimensions of metal hanging. In this context, the research aimed to provide a contemporary design vision based on the use of Al-Qatt Al-Asiri motifs to enrich the aesthetic dimension of the contemporary metal hanging. The two researchers used the descriptive analytical approach to provide a descriptive study of the artistic characteristics of Al-Qatt Al-Asiri art and analyze its decorations' aesthetic values and plastic features. The research reached a set of results, the most important of which are: The units of Al-Qatt Al-Asiri decorations are distinguished by their aesthetic richness, which allows the designer to draw inspiration from them and employ them artistically within the metal hanging.
International Journal of Multidisciplinary Studies in Art and Technology, Jun 1, 2019
Bien qu'il soit l'élément essentiel dans la représentation photographique, puisqu'il est la surfa... more Bien qu'il soit l'élément essentiel dans la représentation photographique, puisqu'il est la surface sur laquelle sera projetée une prise de vue et sera matérialisée une empreinte (trace) lumineuse, les recherches plastiques concernant le papier photo sensible comme matière étaient très timides : elles étaient limitées au niveau de la représentation et de la plasticité de l'image uniquement. La prochaine pratique plastique, serait une série d'expérimentation à travers laquelle je cherchais à signaler le rôle indispensable du support (papier photo-sensible) dans la « fabrication » de l'image photographique ainsi que la remise en question de sa valeur artistique. Je voulais surtout ouvrir le champ à l'expérimentation dans la pratique de la photographie et remettre en évidence la matérialité du support photographique par l'intermédiaire des interventions personnelles que j'exerçais sur ce papier sensible. Le support qui était l'objet dans lequel s'incorpore et se stocke l'information à transmettre (l'image photographique) deviendra alors suite à mes manipulations un objet, autre, porteur de matérialité qui sera révélée par le geste et la répétition du geste. Ainsi la matérialité du support en soi devient une révélation et la révélation de la matérialité du support, elle, devient l'acte même fondateur de l'image photographique, qui, lors de cette expérimentation va emprunter une nouvelle dimension plastique, dont le principe de base se posera sur le comment d'un aboutissement à la concrétisation de la matérialité du support photographique.
International Journal of Multidisciplinary Studies in Art and Technology, 2019
Bien qu’il soit l’élément essentiel dans la représentation photographique, puisqu’il est la surfa... more Bien qu’il soit l’élément essentiel dans la représentation photographique, puisqu’il est la surface sur laquelle sera projetée une prise de vue et sera matérialisée une empreinte (trace) lumineuse, les recherches plastiques concernant le papier photo sensible comme matière étaient très timides : elles étaient limitées au niveau de la représentation et de la plasticité de l’image uniquement. La prochaine pratique plastique, serait une série d’expérimentation à travers laquelle je cherchais à signaler le rôle indispensable du support (papier photo– sensible) dans la « fabrication » de l’image photographique ainsi que la remise en question de sa valeur artistique. Je voulais surtout ouvrir le champ à l’expérimentation dans la pratique de la photographie et remettre en évidence la matérialité du support photographique par l’intermédiaire des interventions personnelles que j’exerçais sur ce papier sensible. Le support qui était l’objet dans lequel s’incorpore et se stocke l’information à...
A contemporary vision of the Saudi architectural heritage as an introduction to the development o... more A contemporary vision of the Saudi architectural heritage as an introduction to the development of ceramic and textile hangings
Design Engineering, May 21, 2021
Although it is the essential element in the photographic representation, since it is the surface ... more Although it is the essential element in the photographic representation, since it is the surface on which a shot will be projected and a luminous imprint (trace) will be materialized, plastic research concerning sensitive photo paper as a material was very timid: they were limited to the level of representation and plasticity of the image only. The next plastic practice would be a series of experiments through which I sought to point out the essential role of the medium (photo-sensitive paper) in the "manufacture" of the photographic image as well as the questioning of its artistic value. Above all, I wanted to open the field to experimentation in the practice of photography and to highlight the materiality of the photographic medium through the personal interventions that I carried out on this sensitive paper. The medium which was the object in which the information to be transmitted is incorporated and stored (the photographic image) will then become, following my manipulations, an object, another, bearer of materiality which will be revealed by the gesture and the repetition of the gesture. Thus the materiality of the support in itself becomes a revelation and the revelation of the materiality of the support becomes the very founding act of the photographic image, which, during this experiment, will borrow a new plastic dimension, including the principle of base will be posed on the how of a result in the concretization of the materiality of the photographic support.
Psychology and Education Journal , 2021
Although it is the essential element in the photographic representation, since it is the surface ... more Although it is the essential element in the photographic representation, since it is the surface on which a shot will be projected and a luminous imprint (trace) will be materialized, plastic research concerning sensitive photo paper as a material was very timid: they were limited to the level of representation and plasticity of the image only. The next plastic practice would be a series of experiments through which I sought to point out the essential role of the medium (photo-sensitive paper) in the "manufacture" of the photographic image as well as the questioning of its artistic value. Above all, I wanted to open the field to experimentation in the practice of photography and to highlight the materiality of the photographic medium through the personal interventions that I carried out on this sensitive paper. The medium which was the object in which the information to be transmitted is incorporated and stored (the photographic image) will then become, following my manipulations, an object, another, bearer of materiality which will be revealed by the gesture and the repetition of the gesture. Thus the materiality of the support in itself becomes a revelation and the revelation of the materiality of the support becomes the very founding act of the photographic image, which, during this experiment, will borrow a new plastic dimension, including the principle of base will be posed on the how of a result in the concretization of the materiality of the photographic support.