Al-Qadisiyah Arts Magazine

ABSTRACT:
Rhythm is directly related to the physical formations to create consistency and organization of the movement of the groups and their dances and the method of their distribution and to create a formal and aesthetic balance in the scenographic image. The aim of the research and its limits, which was represented in the theatrical performance marked (The Shot of Mercy), which was presented at the National Theater Hall within the activities of the Baghdad International Theater Festival 2022, and then included the definition of terms (rhythm, connection, physical formation). And the second: the rhythm of physical formations in the methods of acting performance, to end with the most important indicators that the research reached and the procedures in the third chapter that analyze the play (Mercy Shot), so that the research ends with the most important sources and references specified in the fourth chapter.
Keywords: rhythm- correlation- physical formations- actor.

ملخص البحث:
تناول البحث الحالي دراسة البوليفونية البصرية في الفن الكرافيكي الهندي. يتلخص هذا البحث بدراسة جمع التعدديات الخطية والعناصر والأجزاء في العمل الفني الواحد، تروم هذه المقاربة إلى تتبع مفهوم النص البوليفوني أو النص المتعدد الرؤى والمعاني والافكار ووجهات النظر وتعدد الأزمنة والتقنيات وغيرها من التعدديات التي سعت إلى التخلص من أحادية المنظور والمعنى وغيرها، فتميزت هذه الأعمال الكرافيكية بالبوليفونية، ويمكننا رصد أشكال التعدد في النص الذي يتسم بالبوليفونية من خلال تعدد في طرح الأفكار، أي من خلال البناء المركب داخل العمل الواحد.
احتوى البحث على أربعة فصول: تضمن الفصل الأول عرضاً لمشكلة البحث والمحددة بالتساؤلات الآتية:
- هل تمثلت البوليفونية البصرية في الفن الكرافيكي عامة والفن الكرافيكي الهندي خاصة؟ فضلاً عن عرض أهمية البحث والحاجة إليه. أما هدف الدراسة فيكمن في:
- كشف البوليفونية البصرية في الفن الكرافيكي الهندي. من خلال ملاحقة المصطلح نظريا، ومن ثم تحليل نماذج من عينة البحث.
- وتحدد البحث بدراسة الأعمال الكرافيكية في الهند وتحددت بالمدة الزمنية (1951-2010)
- أما الفصل الثاني: فقد تضمن الإطار النظري، والذي احتوى على مبحثين، ضم المبحث الأول دراسة (البوليفونية مفاهيمياً، تاريخيا، نقديا، جماليا)، فيما ضم المبحث الثاني (تمثلات البوليفونية البصرية في الفن الحديث/ حوارية النغمية البصرية)، انتهى الإطار النظري بتحديد مؤشرات البحث، اعقبها الدراسات السابقة.
- أما الفصل الثالث: فقد تضمن إجراءات البحث التي تناولت مجتمع البحث، إذ اشتمل إطار مجتمع الدراسة على (20) عملا كرافيكيا، أما عينة الدراسة فتكونت من (2) أنموذجين كرافيكيين. وتناول الفصل منهج البحث وأداة البحث ثم تحليل عينة البحث.
- أما الفصل الرابع فقد تناول أهم النتائج والاستنتاجات، ومن جملة النتائج التي توصلت إليها الباحثة هي:
1. أمكن للفنان الهندي إنتاج أعمال بوليفونية بصرية من خلال إدخال مجموعة من التعدديات الخطية واللونية والتقنية والتركيبية والبنائية واللحنية داخل بنية النص الواحد للعمل الكرافيكي.
2. حاول الفنان الهندي المعاصر أن يقتصى مفهوم البوليفونية من خلال العلاقة بين البنى التركيبية والتعددية التجريدية للشكل.
كذلك ضم البحث الاستنتاجات التي بنيت على وفق النتائج، والتي من أهمها:
- أكد الفنان الهندي على التوظيف البوليفوني؛ لخلق شكل ذي تعدد صوتي، إذ تحيلنا القراءة البصرية؛ لما أنجز من أعمال كرافيكية مثلت البوليفونية البصرية، إلى تعدد البنى الشكلية وتأويلها إلى جمل لحنية إيقاعية متراكبة.
- وبعدها قدمت الباحثة أهم التوصيات والمقترحات.
- وقد انتهى البحث بقائمة المصادر والمراجع والملاحق، والملخص باللغة الانكليزية.
الكلمات المفتاحية: بوليفونية، بصرية، كرافيك، هندي.

Abstract:
The overlap and interaction between the various activities is an expression of the interconnected dimensions of human life, and this is what we find of a strong convergence between generative linguistics and graphic art. Therefore, the researcher aspires to adopt the methodology (Generative and its representations in contemporary Iraqi graphic art) as a scientific phenomenon rooted in the human dimension that comes through the artist's ability to do interrelated sequences according to the foundations and standards between projects with various techniques and artistic forms; considering that generative creates its own laws, and being an extension of a plastic situation or a subject, here it is necessary to think and research it as it is also a characteristic of the image of the project in terms of being an individual and unique process at the same time, by asking the following question: What are the representations of generative in contemporary Iraqi graphic art? How was generative achieved in the graphic projects? What are the manifestations of generative in one project? This is what came in the research problem and the need for it.
The research was divided into four chapters: the first chapter included in addition to the research problem and its importance, and the research objective: to reveal the role of generative thought in contemporary Iraqi graphic art. It also included a definition of the limits of the research, which were defined by contemporary graphic works within the temporal limit (2019-2020) produced by the two projects in Jordan and London. It also included a definition of the terms mentioned in the title of the research.
While the second chapter was divided into four topics, the first topic of which was concerned with (generative foundation and method), while the second topic: the meaning and structure of generative in the artistic project (a suggested point of view).
While the third chapter included the research procedures from the research community and the research sample includes two models, chosen intentionally, and included the research methodology and the research tool, where the researcher relied on the results of the theoretical framework of indicators in the analysis of the research sample.
The fourth chapter included the results of the research, and among the findings of the researcher:
6. Generative promotes synergy between subject and technique and makes a comprehensive language for contemporary Iraqi graphic projects to be understood at first sight; This is achieved in the sample forms (1, 2).
7. The appearance of the regular division between the kinship structures in the single Iraqi graphic project; This is achieved in the sample forms (1, 2).
8. The generative theory highlights the presence of mathematical and mental logic in addition to graphic experience. This is achieved in the sample forms (1, 2).
The chapter also included the conclusions of the research, and among the conclusions:
9. The concept of experimentation preceded generation in contemporary Iraqi graphic art.
10. Reliance on the sensory aspect of the elements and vocabulary through the technique used to reach generative.
11. The fourth chapter also included a set of recommendations and proposals, followed by a list of sources and appendices.
12. Key words: Generative, Representations, graphic, Iraq, contemporary.

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Abstract
This current research studies (representing good and bad habits in Islamic photography). This study included four chapters. The first chapter dealt with the problem of the research، its importance and the need for it, then its goal and limits, and defining and defining the terms included. The research problem dealt with art as a tool for purifying human souls and elevating them to the highest positions. Aesthetic expression and good values. Good values ​​are diverse and have higher levels that differ according to each society, its components, and its way of living. Islamic photography is one of the prominent and representative branches of Islamic art, conveying to the world a clear image of great value In the importance of life in all its economic, social and cultural aspects during the history of Islamic times. Hence, the importance of the research problem is clear through the following question:
Did the artist have the primary role in showing those good deeds at times and bad deeds at other times, or are they merely depictions that represent the lived reality of that time? How were good deeds and bad deeds represented in Islamic miniatures that represented a time period of the Islamic era?
The goal of the current research is: to know the representation of good and bad customs in Islamic photography.
The limitations of the research were:
Objective limits: The current study focuses on interpreting the representation of good and bad customs in Islamic photography, which are available in relevant sources and references, as well as what is available on the Internet.
Temporal boundaries: The time period (from the beginning of the 7th century AH until the 10th century AH), as it represented the peak of prosperity in the main schools of Islamic painting.
Spatial borders: Iraq, Iran, Turkey and most of their museums and cultural centers.
While the second chapter included the theoretical framework and the resulting indicators, it contains two sections, which are as follows:
The first section: Good and bad habits in Islamic thought, and the second section: Approaches to good and bad habits in schools of Islamic photography, while the third section contained research procedures and included community
The research consisted of (36) miniatures, and the research sample that was chosen intentionally amounted to (3) miniatures from Islamic painting of the main and important schools. The fourth chapter includes results, conclusions, recommendations, and then proposals. The most important results of the research are:
4. Piety is one of the most important good habits and the greatest good deeds that a Muslim person must possess. The character of piety refers to the fear of God Almighty by avoiding what He has forbidden of reprehensible and bad actions and following what He has commanded.
5. Prayer represents the power of a good, morally great habit that forbids indecency and evil. This power strengthens the conscience of the believer, strengthening him to do good, abandon evil, avoid bad deeds, avoid indecency and evil, resist panic at evil, and refrain from good. It instils in the heart God Almighty’s monitoring and care. Its limits.
6. Fraud, theft, lying, and immorality are bad habits that God Almighty forbids in the Holy Qur’an, as they lead to destruction and divine wrath. The researcher pointed to a set of conclusions, recommendations and proposals related to the research topic.
Keywords: representing, good, good, values, bad, miniatures.

Abstract:
We often find shapes and drawings that give us an idea of order and balance, but they often indicate a philosophical depth and a metaphysical dimension, so the current research is summarized in four chapters: The first chapter consists of the research problem, which is: What is the dual philosophical dimension of the concept of symmetry in the artist Escher’s drawings? The aim of the research is: to identify the dual philosophical dimension of the concept of symmetry in the drawings of the artist Escher, and the time limits were: between (1946-1960) AD. As for the second chapter: it was in two sections: the first section: the philosophical dimension of symmetry, while the second section: symmetry artistically- the artist Escher, and the researcher summarized the results of the previous sections with indicators of the theoretical framework. As for the third chapter: a group of samples was chosen in a systematic, random way due to the fact that the population is homogeneous, so the final number became (5) models for the research sample from the original community, and the models for the samples were analyzed in a descriptive and formal manner. As for the fourth chapter: it included the results, conclusions, recommendations and proposals.. Among the results: reached by the researcher were as follows The artist Escher was distinguished by his impossible
6. compositions, although they were mathematically inspired, they were attempts to explore infinity, architecture, and mathematical. paradoxes through art In his works, the philosophical dimension is achieved through
7. his use of rotational symmetry and also withdrawal symmetry, which is based on a network of triangles, which makes this model continue to infinity and in all directions, and (infinity) is a.philosophical principle The philosophical dimension was achieved in the artist’s work
8. when he used conflicting proportions to create a visual paradox, and not like other two-dimensional artists who use relative. proportions to create the illusion of depth: Among the conclusions The artist paved the way for modernity by being the tendency of
9. one of its parties to be associated with everything that is different, opposite, and hostile. He is a pioneer of symmetry in art in general and painting in particular. The artist worked within rules that he formulated for himself, rules of his own, and within a mathematical. aesthetic theory that applies to life, people, and to him personally The artist brought about a transformation in the nature of artistic
10. production. The formal possibilities were endless, employing. animal, human, or architectural forms
Keywords: symmetry, philosophical, artist, Escher, dimension

Abstract:
Since ancient times, theatrical art has sought to pay attention to furnishing the theatrical place with scenographic vocabulary, either from an aesthetic, artistic, or semantic perspective. For plastic art to be, according to its modern trends in shaping the theatrical space, with tools that combine form and content, as a physical tool that guarantees the relationship with the recipient, as an effective element in building the theatrical show. Perhaps among the problems that determined this relationship is the nature of the closed and open space with its artistic dimensions and the nature of the employment of the element. Technically, here the art of preparing the place was one of the trends that was directly or indirectly linked to the idea of preparing the closed and open theatrical space and how to employ it artistically and aesthetically. From here, the researcher decided to formulate the title of his research as follows (The art of preparing the place between the closed and open space in... The contemporary Iraqi theatrical performance. The research included four chapters. The first chapter included the research problem that ended with the following question (What is the art of preparing a place, and how is it employed artistically and aesthetically in forming the closed and open space in the contemporary Iraqi performance?)
As for the importance of research and the need for it: It is one of the important topics that deals with a modern plastic trend, which is the art of setting up the place, which contributes effectively to enriching the theatrical image within the closed and open space with its aesthetic and artistic dimension that brings the recipient closer to it, especially since we belong to the era of technological development, which has greatly reflected on the nature of the theatrical image.
The aim of the research was (to learn about the art of setting up space between closed and open space in contemporary Iraqi theatrical performances)
Research limits:
Time: 2015- 2021 AD
Location:- Iraq- (Baghdad) (Babylon))
Objectively studying the art of preparing space between closed and open space in contemporary Iraqi theatrical performances.
The first chapter ended by defining the most important terms mentioned in the title of the research, while the second chapter included the theoretical framework and the indicators that resulted from the framework, and it was in two sections as follows:
The first topic:- The art of preparing a place (philosophical and aesthetic concept)
The second section:- The art of preparing the place between closed and open space in the international theatrical performance. As for the third chapter, it included the research procedures represented by (the research community, the research sample, the research methodology, and the research tool), and the chapter ended with an analysis of the research sample, the first of which is the play (Red Carpet). is within the (closed space) style, while the second play, (Prophecy), is within the (open space) style.
The fourth chapter included the most important results of the research, the most important of which are:
First sample (red carpet))
4. The art of preparing the place came into play in each of the paintings. To express a social, political, or cultural issue, but at the same time it expresses the issue and idea of the main play through which the director tried to find artistic and aesthetic justifications. To choose the theatrical location.
The second sample (prophecy)
5. The organization of the theatrical space in the play “Prophecy” was affected by the organization of the space within the boundaries of the theatrical performance, especially after the abolition of the traditional barriers between the stage and the audience. Because of the nature of the open space.
The research ended in the fourth chapter with the most important results, conclusions, and a list of sources.
Keywords: art, installation, place, space, closed, open.

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Abstract:
The theatrical performance is considered the most important field in which the process of communication and communication is manifested through the characters of the show، and because the actor is the most important element of the theatrical show، upon which the rest of the other elements in the theatrical show are based، and he is the main conveyor of signs within the show system, and who, with his skill, can influence the recipient and convey connotations and artificial patterns through The way to embody the dramatic character is by relying on a representational system through which he organizes his physical and vocal tools for the purpose of conveying the message of the theatrical performance, and because communication and communication is a system through which a person achieves a connection with himself or with what is going on around him, and this system requires a certain skill in order to be able to reach the desired goal, which is influencing others. This research is to demonstrate the actor's skill in communicating with the audience in the theatrical performance
ا

abstract
Designs are created to establish indoor environments that serve their intended purpose. The primary goal of the design is to analyze and determine the nature of the design activity itself in terms of suitability. Suitability in design is not limited to specific aspects of the occupants' activities within the space but encompasses all factors that influence it as secondary considerations. This is after identifying the main objective issues related to implementation, analysis, or improvement.
The establishment of rehabilitation centers for people with special needs is a humanitarian issue affirmed by divine laws and United Nations resolutions such as Article 13, paragraph 1 of the International Convention on Economic, Social and Cultural Rights, Articles 23 and 29 of the Convention on the Rights of the Child, and the Convention on the Rights of Persons with Disabilities. These oblige states to ensure a comprehensive education and rehabilitation system.
This research aims to examine the compatibility and suitability of the internal spaces of rehabilitation centers for the requirements of people with special needs. The methodological framework consists of two sections: suitability and compatibility in interior design, and the internal space of rehabilitation centers. The research followed a case study approach, analyzing the Yarmouk Institute for Vocational Rehabilitation in Baghdad. The research tool yielded an arithmetic average for the evaluation at 3.07 and a percentage of 76.75% (good) for the performance of all evaluation criteria. The variation in performance is attributed to the overall design and training spaces for each specialty and their adherence to the intended specifications, as well as the suitability of their performance and the interaction of trainees and teachers within the space.
The conclusions drawn include:
3. Relevance in design involves achieving a balance and integration between different design elements to effectively attain the desired goal.
4. Suitability does not imply a negative response to environmental conditions. Rather, it requires individuals to adapt interior designs to suit their requirements, considering changes that occur temporally and spatially.
Keywords: suitability, interior spaces, people with special needs

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Abstract:
Our government institutions usually use a logo that represents them, gives them privacy, and distinguishes them from other institutions and departments. There is an attempt to understand the nature of logo design and the criteria for its use, according to formal combinations that have become for the designer a design, formative, and semantic system that imposes his presence on the surroundings of the design stages that have components and requirements that suit each stage.
Without the slightest doubt, the door has become wide open to modern technology and the speed of its progress, and this is what helped make the formal synthesis of institutional logos, regardless of their ideas and classifications, occupy a distinctive place, carrying with them values ​​and concepts that parallel technical development, despite the limited space of the logo, as it is considered a design composition of a small size. However, This description did not diminish its design value and missionary purpose, and it is based on that it carries a lot of meanings and connotations. If such a composition is subjected to a thoughtful formal synthesis process, it will slowly occupy its rightful place as one of the publications of communication and expression at the institutional level.
Accordingly, the research was interested in studying the formal combinations of institutional logos by revealing the worlds of these combinations and how the designer deals with them according to the mechanism of functional work, and then exploiting them to express a specific vision and meaning. This is what encouraged the researcher to define the problem with the following question:-
- Does formal synthesis and its functional functions contribute to the design of institutional logos?
The second chapter came with the theoretical framework and included two sections, the first of which dealt with (the concept of formal synthesis in its general sense), and the second section was concerned with presenting a set of mechanisms for the functional operation of the concept of formal synthesis in order to reach methods resulting from it or achieved from it, such as the mechanism of functional operation of aesthetic, technical, expressive.....etc. The study summarized some indicators of the theoretical framework that supported, in a scientifically studied manner, the analysis of the researched models. The third chapter included the methodological procedures that the researcher followed, including choosing the descriptive approach and method of content analysis, and identifying the original research community and the reasons for choosing the research sample to reach the results and conclusions..
Then, some recommendations were included, in addition to the researcher presenting a new scientific proposal, and she concluded the pages of her study with a list of the sources she adopted in the theoretical framework.
keywords: Formal synthesis, functional operations, institutional slogans.

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Abstract
The elements of art represent the basic foundation for learners, so students must acquire their experiences because they permeate all fields, especially art through plastic arts. Or design, or cinematic or theatrical... etc., so the learners must acquire knowledge experiences. And the skill associated with it to be able to employ it when building the artistic production.
The idea of the current research problem has crystallized. In the researcher’s mind, how to employ these elements and explain their uses and impact on the development of the aesthetic response of the learners, who constitute a primary goal for the practice of art in its various fields. Accordingly, this problem was crystallized through the following question:
What is the effect of an educational model" Share – Pair – Think on developing the aesthetic response to his request for plastic arts in the Elements of Art subject?
As the research community consists of students of the College of Fine Arts/ Department of Art Education- University of Baghdad/ second grades/ for the academic year 2022-2023, and the number is (125) male and female students distributed over (4) classes, and the researcher obtained these statistics from the department's rapporteur. A random sample of (30) male and female students was selected and they were divided into two groups (T, Z). There are (15) male and female students in each group. To extract the results, the researcher used the bag. SPSS statistics.
The most important results are:
3. The group’s students excelled. The experimental group students compared to their peers in the control group, and this is due to the ability of the educational model to develop their aesthetic response.
4. It was found that the size of the impact that education had using the educational model had on the students of the experimental sample. (0.9) and indicates its effectiveness in developing the response. Their aesthetic compares to their peers. Control group students.
Recommended:
5. Designing the content of the educational model. In the subject of the elements of art. And implement it through a place to learn. And the appropriate time, preparation, and advanced educational means.
Keywords: educational model, aesthetic Response, artistic elements.

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Abstract:
Technical transformations appeared as graphic achievements governed by innovative design contexts. As a result of the revival of the industrial revolution and the technical development that the world is experiencing today in a stage of technical and digital transformations, which made commercial advertising go through a group of transformations at the level of form and expression, and the method of presentation through the integration of technologies and communication, or what is known as digital technology, which contributed to the adoption of technical transformations that established the discourse. Contemporary visual, as it was able to violate the rules of language and aesthetic form, leading to Westernization, thus making commercial advertising consumable and circulating. Therefore, this study seeks to investigate the technical transformations in the design of modern commercial advertisements to reach the importance of technical design transformations, and to clarify their creative specificity in accordance with the functional and aesthetic requirements in the advertisement to convey the meaning indicating the goal of the advertisement. This prompted the researcher to ask, through the topic, “What are the technical transformations in the design of contemporary commercial advertisements?” The first chapter also included the research objective: revealing technical transformations in modern commercial advertisements. As for the limits of the research included in the first chapter, they were limited to a study of the McDonalds company in America. As for the second chapter, it included the theoretical framework. The first topic dealt with (graphic design and its technical transformations) and the second topic (communication and advertising in light of digital technologies).
The third chapter was devoted to the procedures that included the research community of McDonalds, and the fourth chapter included the most important results and conclusions.
Keywords: transformation, advertising, contemporary.

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Abstract:
The study of the dramatic text is one of the critical studies, and the inevitable necessity, which punctuates the methods of contemporary criticism through reading exploration. This is done by revealing the structure of the dramatic text of the creative scene represented by the (ceramic) work, and the dramatic formation is the other transforming path represented by the reading path of the recipient of the text, especially the critic who examines and is familiar with translating the artist’s intellectual content through artistic expression in which the elements of artistic formulation are available, considering that we are faced with A visual text with an abstract pictorial language that calls for in-depth study, which contributes to the openness of the visual text in the structure of the dramatic text that is located in the space of contemporary art. Therefore, the research follows a critical path, in a way that serves its title of studying the dramatic text, and seeks to study drama and its representations in the works of Roger Carpen, which gains its importance from the importance of contemporary ceramics and its impact on plastic art. On this basis, the research consists of four chapters: the first chapter includes the research problem. Which ended with the question (how does the dramatic text contribute as a creative and aesthetic value to the works of the potter Roger Carpen), its importance, its purpose, and the definition of its terminology. As for the second chapter, which included three axes, the first. The concept of dramatic text, and the second is applications of drama in visual art. The third is representations of drama in ceramics. Through the indicators that resulted from the theoretical framework, the research moved to the third chapter, which included its procedures, as the research community consisted of (15) works; The samples were chosen intentionally and amounted to (3), and then, based on the analysis of the samples, the research moved to the fourth chapter. It included the results, discussion, and conclusions. The most important findings of the research are the following:
4. The dramatic text appeared in the ceramic work in its representations through the transformation of the action of movement within the system of the language of plastic art in (the morphology of beauty) into the form of the gesture of movement- dance- sadness- joy (comedy/ tragedy) entering the theater of life in an emotional and expressive ceramic work.
5. The action movement (conflict) between the opposites and their dual functions formed the basic structure in the dramatic text.
6. The existing foundation for the ceramic work was formed by energy (the plot) as an active and driving force for the dramatic text in its drama, through the absence of the author and the presence of the artist implicit in the text to attract the audience and participate in this (imagined) emotion, and this applies to all models of the sample. As well as suggestions and recommendations, the most important references and sources, research forms, and a summary in English.
Keywords: text, drama, conflict, plot.

Abstract
The function of the theatrical material has evolved just as the function of theatrical techniques has developed. It is noted that the material will no longer be merely traditional vocabulary subject to a known functional context, but rather has become an active center in the system of artistic work, and has influences within the theatrical performance space and vocabulary whose functions cannot be dispensed with; Because of its psychological, intellectual and aesthetic characteristics, the material in contemporary Iraqi theater is productive and influential and participates in the production of theatrical discourse. Perhaps it is an established fact that in some Iraqi theatrical performances there is no presence within the artistic work other than the visual presence, the basis of which is the natural materials that enable the actor to perform. By presenting the character in ways that are understandable and clear and do not require visual complications; Being a vocabulary of nature and the environment, it also transcends in its uses: traditionalism and monotony; Which results in a communicative relationship with the recipient based on focus and integration, which prompted the researcher to adopt such a topic and work on the research. For this purpose, he formulated the title of his research as follows: (The material and its uses in contemporary Iraqi theatrical performance), and for the purpose of reaching The research objectives: The researcher drew the research paths in four chapters, which included: The first chapter: The methodological framework (the problem of the research and the need for it). The methodological framework also included the importance of the research, its objectives, its limits, and the definition of terms: (raw material, employment). The second chapter: It included the theoretical framework. And indicators. In the third chapter (research procedures), the researcher dealt with the research sample, the research methodology, and the analysis of the sample. As for the fourth chapter: the results of the research were presented and discussed, including: The materials played a rhythmic function in the theatrical performance and a wonderful visual role by achieving harmony, balance, and coherence with the actors’ performance
According to a set of results, the researcher reached some conclusions, including: The materials in contemporary Iraqi theater produce more life meanings than aesthetic expression. Because of the connection between the Iraqi theater show and reality, society and politics.
Finally, recommendations, suggestions, and a list of sources.
Keywords: material, employment, Iraqi theatre.

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Abstract:
Studying symbols in art is one of the basics that translates the language of art, given that art is based on forms and ideas that depend for their employment and semantic function on the symbol. Which necessitated the need to reveal (Symbolic Performance in Contemporary Iraqi Painting), which constitutes the title of the research, as the title of this mini-research consisted of four chapters. The first was devoted to the research methodology, starting with the research problem, the research question, the goal of the research, its importance, the need for it, and its purpose, while the second chapter was devoted to the theoretical framework. In which the researcher dealt with two sections, the first specialized in studying the intellectual and philosophical concepts of the symbol in the sayings and ideas of philosophers, and the second section specialized in reading the process of Iraqi painting. The third chapter covered the research procedures, and the fourth chapter presented the results and conclusions, the most important of which were:
4. The methodological basis based on symbolic semantic performance in contemporary Iraqi art is based on the geometric system that is consistent with the abstract.
5. The cultural heritage has a foundational role by borrowing the vocabulary of the pictorial surface of contemporary Iraqi artistic work.
6. There is no fixed meaning in the artistic work of the contemporary raqi painter, only symbolic connotations that can be read, visualized, and explored to confirm the identity of Iraqi art through these matters.
Keywords: performance, performativity, symbol, coding

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Abstract
A Physical expression is one of the main tools of the actor's work, and it is also a process of communication and communication with others within the process of theatrical performance, so (Marcel Marceau) is one of the creators and creators of the importance of physical presence in action and the pictorial movement from imaginary virtual action to an embodied movement with clear expression, so the theatrical actor has to He should not neglect his physical presence, because this helps him translate the meaning of actions by means of gesture and gesture, especially since every theatrical performance is filled with addition to the artistic side, there is the technical and semantic side.
The researcher sought to enhance the role of the body by showing pantomime in theatrical performances, and the research contained through the methodological framework represented by the research problem, as the researcher formulated the following question: Does the actor in the pantomime theater have the capabilities and abilities to express the invisible act and convey the hidden meanings of the representative space by relying entirely on representation Gesture physical through pointing, gesturing, and using its tools, organs, and bodily parts? It also contained the importance of the research, the aim of the research, and defining the search terms. While the research dealt with the theoretical framework, two sections, the first topic entitled (the importance of the actor’s body in the physical expressive space), and the second topic entitled (the development of the technical performance of the pantomime actor). Then the indicators of the theoretical framework. The researcher chose Three samples of research by Marcel Marceau. Then the research included the results and conclusions. The end of the research issues a list of sources abstract.
Keywords: expressive space, pantomime theater, Marcel Marceau, invisible and visible space.

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Abstract:
The research entitled (The non-normativity of the body in the technology of displaying the contemporary global formation) dealt with the nature of the concept of non-normativity and the mechanisms of its operation in the contemporary global formation. The research came in four chapters. The first chapter contained: The methodological framework of the research, represented by the research problem that was linked to the postmodern formation proposals in America and Europe. It was crystallized with two goals: revealing the term non-normativeness in the post-modern formation of contemporary global art. As for the limits of the research, it focused on studying the non-normativeness of the body in the formation of global art, by analyzing photographic examples for the period from (2000-2020) in the United States of America and Europe. As for the second chapter: The theoretical framework for the research, it contained two sections. The first research dealt with the philosophical root of the concept of non-normativeness. The second section was concerned with reviewing the body in contemporary artistic trends and theories of reading and reception. The third chapter was concerned with research procedures represented by applications of the body in composition. Contemporary global research, then it included defining the research population, the research sample of (3) as a model, then the research tool and sample analysis. As for the fourth chapter: it included the research results, conclusions, proposals and recommendations. The researcher reached a number of results and conclusions: the most important of these results are:
7. Most works in contemporary arts appeared realistic in terms of true proportions and natural movement, as well as some details conveyed realistically, such as color and texture.
8. Political, social and ideological conflicts clearly affected the artistic achievement in contemporary arts, which produced a change in the artist’s intellectual orientations, which was clearly reflected in the artistic work.
9. Most contemporary artists focus on physical communication, and this is what gives the artistic work a concept that is more credible and closer to the recipient because it simulates reality. This creates a non-normative dimension of elevation regarding society.

Conclusions:
10. The contemporary artist has adopted his artistic works based on intellectual paths and in terms of his philosophical affiliation, within a visual vision that shapes the image of the body in an expressive way that creates a state of communication between the artistic work and the recipient.
11. Non-normativity has achieved its dominance and influence on societies. Therefore, the artist no longer cares about the aesthetic and standard rules of the artistic work, but his focus is on exciting the recipient and coming up with new results.
12. Contemporary arts appeared in a chaotic manner due to cognitive connotations, as non-normative hegemony made the artist’s self reflect on art.
13. Keywords: (non-normative, body, interaction, reception, audience)

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The researcher touches the problem of his research through the following question: What is the method in which color fusion is employed in the manifestations of the industrial product?
As the current research aims to reveal the use of colors in the treatment of the structure of the industrial product, so the researcher adopted the descriptive approach to build his research procedures as it is the most appropriate scientific method to measure the goal of the current research.The researcher used the SPSS statistical bag to extract the most important results, which are:
1. The colors appearing on the surface of industrial products varied between blue, red, white, black... and others, which depended on the design treatments of the industrial designer.
Keywords: Fusion, color.

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Abstract:
study tagged(The conceptual sign in the performances of the Boys Theater/ Gilgamesh, who saw a model) focused on the specific problem by answering the following question: To what extent are the signs conceptually represented in the theatrical system of Iraqi Boys Theater performances? The aim of the research was to: Reveal the conceptual applications of the sign in the performances of the Boys Theater(the play Gilgamesh who saw). As for the limits of the research, the conceptual signs were represented in the presentation of the play(The Play Gilgamesh Who Saw) in the Department of Theater/ College of Fine Arts/ Baghdad for the year 2022. The researcher has identified the terms B(conceptual, theatrical sign, boys' theater) The second chapter included three sections, the researcher touched in the first section on the nature of the mark and its conceptual works and the most important classifications, while the second section revolved around the theater of boys characteristics, features, dimensions and elements of the audio system and the visual system within the formats of signs of theatrical presentation. As for the third chapter within the research methodology, the researcher used the descriptive analytical approach as it is the closest approach to achieving the goal of the research, and represented the research community and appointed it by presenting the play(Gilgamesh who saw), and the), presented in the period from(2021-2022), and the research tool represented by the presentation analysis tool was built within two main axes(marks within the scope of the representative, marks outside the scope of the representative), and sub-axes that include the types of mark, its patterns and images, and the research tool was subject to the conditions of honesty and stability for the purpose of adopting it in analyzing the sample and drawing conclusions, and the Cooper equation was adopted as the most appropriate means to reach this, as well as the Pearson correlation coefficient to calculate the stability of the research tool, and the third chapter concluded with the analysis of a sample Search. Then the research ended with the fourth chapter, which included the net
2. The high percentage of conceptual applications of the brand(human and fantasy), depending on the nature of the characters in the theater of boys humanized mixed between human movements and gestures and other animal or fantasy within a metaphorical mixed space.
Conceptual, Theatrical Sign, Boys' Theater, (Gilgamesh Who Saw)