Journal of Nabu

The current study aimed to identify the phenomenon of mental wandering among students of Institutes of Fine Arts in Basra Governorate, and to examine the statistical significance of differences in mental wandering based on the gender variable .To achieve the research objectives, the research adopted the Mental Wandering Scale developed by Al-Feel (2018), which consists of 26 items distributed across two domains: the first is Topic-related mental wandering (12 items) and the second is Topic-unrelated mental wandering (14 items). After verifying the validity and reliability of the scale, it was applied to a sample of students from Fine Arts Institutes in Basra, consisting of (200) male and female students. The researcher used the one-sample t- test, statistical tools for the research procedures .The results revealed that students of Institutes of Fine Arts exhibit mental wandering in both domains. However, the findings did not show statistically significant differences in mental wandering according to gender. In light of these results, the researcher reached a number of conclusions, recommendations, and suggestions .

This research studies the impact of contemporary Iraqi school theater and its activities on educational, social change in events. It is one of the studies that combines education, society, and the extent of its impact on students. A thorough study of this topic is necessary before delving into it. In this research, the researcher relied on various sources, including those related to educational, socialand psychological sciences in general, and those related to theater in particular. The researcher divided his research into four chapters. The first chapter (methodological framework) addressed the research problem, which was formulated in the following question: (What is the reality of the impact of contemporary Iraqi school theater and the mechanism of its activities in The impact of educational, social change on events? The importance and need for this research are evident in its focus on a crucial aspect of school theater, specifically in its study of the justifications for the influence of contemporary Iraqi school theater on educational, social change in events. The current research aims to identify the concept of the impact of school theater on events.
Contemporary Iraqi school theater and its impact on educational, social, events: The first chapter outlines the research boundaries, including a temporal scope (1980-2005), a geographical scope (plays performed in Baghdad), and a thematic scope (the study of the impact of contemporary Iraqi school theater and its activities) . >
The impact of educational, social change on events (selected examples). The second chapter contained three sections. The first section examined the concept of school theater and its importance in the educational field, while the second section examined the characteristics of school theater in the dramatization of school curricula. Chapter Three included: First, the research procedures, which comprised: 1- The research population. 2- Sample selection. 3- Research methodology. 4- Research instrument. 5- Validity and reliability. Second, sample analysis. The research concluded with Chapter Four, which included: 1- Research results and discussion. 2- Conclusions. This chapter also included a list of references and sources, appendices, and an English summary. And God is the source of all succes

Abstract
This research aims to study the impact of artificial intelligence (AI) on the design of contemporary ceramic models. It analyzes the technical and aesthetic potential offered by software and algorithms in developing artistic forms and reshaping the creative process in the field of ceramics. Chapter One presents the general framework of the research, including a statement of the research problem and an answer to the following question: How can AI-generated ceramic models be designed? It also includes the importance and necessity of the research, its objectives, and its scope. This chapter defines the role of AI as an aid to artistic innovation, clarifies the theoretical foundations upon which the researchers based their study of the relationship between digital technology and art, and defines key terms. Chapter Two comprises the theoretical framework, addressing the origins and development of AI, its characteristics and mechanisms, and its relationship to the visual arts, particularly ceramics. It argues that the use of AI in designing ceramic models represents a contemporary trend in the visual arts, opening new horizons for creativity and establishing a stage of positive interaction between humans and technology in the creation of artworks. This chapter also presents a review of previous studies on the subject. Chapter Three presents the applied aspects of the research. Through the design and implementation of five AI-generated digital ceramic models, these were analyzed in terms of form, structure, surface, and visual relationships to determine the extent to which aesthetic and artistic values were realized in each model. Chapter Four presents the research results and conclusions, the most important findings of which are: 1- The ability of artificial intelligence to generate ceramic models with diverse formal and aesthetic dimensions. 2- The effectiveness of artificial intelligence in suggesting and modifying ceramic visual models structurally in terms of overall appearance as well as color. This is followed by recommendations and suggestions, and then a list of sources and references.

The present research, titled “The Aesthetics of Geometric Forms in the Works of the Ceramic Artist Enric Mestre,” examines how geometry functions as a fundamental visual language that grants the ceramic artwork its balance and distinctiveness. Mestre approaches lines, angles, and volumes as structural components that constitute the essence of the work rather than mere ornamentation or supplementary elements. The study is organized into four main chapters. Chapter One addresses the research problem, significance, objectives, and terminology . Chapter Two presents the theoretical framework, which includes three sections: The intellectual aesthetics of geometric form in the visual arts , A study of geometric configurations in contemporary ceramics , A two-part study: first, contemporary Spanish ceramics and its geometric tendencies; second, the artistic experience of Enric Mestre. The chapter concludes with the indicators of the theoretical framework. Chapter Three covers the research procedures. The research community consists of 15 ceramic works by the Spanish ceramist Enric Mestre, while the research sample includes an analysis of three ceramic works.
Chapter Four presents the research findings, the most important of which include:
1. Geometry constitutes a central axis in Mestre’s construction of form, where lines and angles function as independent aesthetic elements rather than mere organizational tools.
2. The parallel linear rhythm contributes to unifying the components of the form and transforming it into a coherent geometric system, reflecting the artist’s concern with harmony and structural order.
3. The ceramist seeks to transform strict geometry into a field of semantic movement, allowing for a dynamic reading without disrupting the structural rigor of the composition.
The study also presents conclusions, the most significant of which are:
1. It becomes evident that geometric form in Mestre’s work is not solely an aesthetic choice; rather, it constitutes an intellectual system through which he organizes the ceramic mass, bringing it closer to modern architectural structures.
2. The composition reveals a high awareness of geometric balance, which achieves harmony among volumes and grants the artwork both structural strength and visual stability.

This research focuses on the development and enrichment of educational curricula for the cello, with particular emphasis on integrating Kurdish musical heritage with modern technical methods of cello instruction. The study aims to elucidate the role of Kurdish folk melodies in enhancing the educational content for the cello, which is regarded as a classical instrument with expressive flexibility and wide tonal capabilities. It addresses the gap between traditional Western-oriented teaching methods and the local cultural environment in Kurdistan, where Kurdish musical heritage, characterized by its modal and improvisational qualities as well as its rich melodic, modal, and rhythmic elements, provides a unique opportunity to enrich these curricula, enhance performers’ skills, and contribute to the preservation of Kurdish musical heritage and cultural identity. Furthermore, this approach facilitates the accelerated development of students’ technical abilities by adapting Kurdish melodies into integrated instructional units that combine tradition with modernity.

The researcher addressed the study (the aesthetic dimensions of hologram technology in contemporary global plastic art). The researcher studied the subject of hologram in the aesthetic field and contemporary plastic art, as the research contained four chapters, and in the first chapter he addressed (the methodological framework of the research). If the research problem included, which the researcher summarized by asking the question of identifying the aesthetic dimensions of hologram technology and its role in conceptual three-dimensional artworks that keep pace with technological developments and shedding light on the impact on the aesthetic dimensions of hologram technology in global plastic art If the research problem includes the artistic and technical style, then the importance and need for the research, the research objective, the research limits, and the definition of terms, in addition to the procedural definitions that align with the researcher's point of view. Chapter Two: Represents the theoretical framework, containing two sections. The first section represents the theoretical framework, and the researcher addressed the first section: The aesthetic dimensions of technology in contemporary arts. The second section: The concept of the scientific foundations of holographic technology and its emergence. The researcher addressed holograms in contemporary visual art spaces and their connection to technology. Chapter Three: Concentrated on the research procedures, the researcher specifically reviewed the research community, selected models from the community as a sample, and determined the methodology used in the research. Chapter Four: Dedicated to the purpose of the results the researcher reached through the analysis of the selected sample and the conclusions reflected therefrom. The research concluded with a list of approved sources.

Summary
This research studies the abstract patterns of jewelry in the ancient Assyrian and Egyptian civilizations. It comprises four chapters. The first chapter is dedicated to outlining the research problem, its importance and necessity, its objective, its scope, and defining the most important terms used. The research problem addresses the abstract patterns of jewelry in the ancient Assyrian and Egyptian civilizations, which is defined by answering the following question:
What are the abstract patterns of jewelry in the ancient Assyrian and Egyptian civilizations? The importance of this research lies in its shedding light on the most important abstract artistic patterns of jewelry adopted by Assyrian and Egyptian artists. It also highlights the artistic, intellectual, and aesthetic formation of Mesopotamia and the Nile Valley, given the intellectual dimensions of Assyrian and Egyptian jewelry that influenced the artistic formation of both civilizations. The researcher found that there is a necessary need for this study, as this topic meets the needs of specialists in the artistic, philosophical, and historical fields, especially graduate students in art colleges, designers, artists, and archaeologists alike, in their scholarly achievements. The research aims to identify the abstract patterns of jewelry in the ancient Assyrian and Egyptian civilizations. The scope of the research is defined as an analytical study of the abstract patterns of ancient Assyrian and Egyptian jewelry, specifically the Neo-Assyrian period (677 BC – 663 BC), which coincided with the 25th Egyptian Dynasty (715 BC – 656 BC). Key terms, namely abstract patterns and jewelry, are defined. Chapter Two comprises the theoretical framework and a review of previous studies. The theoretical framework consists of two sections: the first addresses abstract patterns from an intellectual and structural perspective, while the second examines the formal and thematic dimensions of jewelry in the arts of the ancient Assyrian and Egyptian civilizations. This chapter concludes with indicators and a review of previous studies. Chapter Three details the research methodology, which includes the research population of 80 Assyrian jewelry pieces. The study, which included six samples (one Assyrian and one Egyptian), also covered the research methodology, research tools, statistical and mathematical methods, and the analysis of the sample samples.
Chapter Four presented the research results, conclusions, recommendations, and suggestions. Among the findings were:
1. The abstract patterns of the Assyrian artifacts were achieved through flexible geometric lines (horizontal, vertical, and circular), as seen in samples (1), (2), and (3).
Note: The text also mentions an Egyptian sample and a sample of six samples, each containing one Assyrian and one Egyptian model.
2. The abstract patterns of Assyrian jewelry are manifested through the repetition and rhythm of geometric formations and abstract shapes, as seen in samples (1), (2), and (3). In contrast, Egyptian jewelry achieves abstract patterns through the repetition and rhythm of decorative floral motifs (lotus), as in sample (1), the repetition and harmony of colored stones with the recurring amulet motif (ram and snake), as in sample (2), and the repetition of rhombuses, scales, and colored circles, as in sample (3).
These patterns are also evident in the repetition of diamond shapes, scales, and colored circles. Among the most important conclusions are:
1. Ancient Assyrian and Egyptian jewelry was characterized by abstract, simplified patterns through shapes, lines, and colors that embodied the abstraction of realistic forms.
2. Jewelry in both civilizations incorporated abstract decorative compositions. Assyrian jewelry was distinguished by abstract plant motifs such as the chamomile flower, the pomegranate fruit, and the palm tree, as well as animal motifs such as the lion's head. This resulted in abstract patterns that were simplified structures reflecting the Mesopotamian environment. Egyptian jewelry, on the other hand, featured abstract decorative compositions such as plant motifs like the lotus flower (common in Egyptian civilization) and the date fruit, and animal motifs such as the scarab beetle, the ram's head, and the snake. This conveyed abstract ideas and patterns through its decorative compositions. Following these findings and conclusions, the recommendations and suggestions are presented, followed by the conclusion, the references and appendices, and finally, an English summary of the study.

In light of the rapid developments characterizing contemporary life, children’s drawings emerge as a cultural and psychological phenomenon that goes beyond being a mere artistic activity. Rather, they constitute a silent language through which deep psychological and emotional contents are expressed, and an authentic reflection of the experiences and emotions that the child undergoes. Art, for the child, represents the optimal means of self-expression and interaction with the surrounding world, often functioning as a safe communicative channel that enables emotional release and the symbolic confrontation of unconscious conflicts.
The process of producing a drawing involves recalling visual symbols from memory or imagination and employing them within the pictorial space, thereby imbuing the drawing with a quality closely linked to emotional memory and its affective charges. These symbols (lines, colors, and shapes) do not adhere to realistic criteria; rather, they follow an “emotional representation” that reflects what the child feels rather than what he or she sees. This renders children’s drawings an indirect diagnostic tool for uncovering the child’s psychological structure.
On this basis, the researcher addressed the topic entitled “Visual Symbols in Children’s Drawings: An Approach to Analyzing Emotional Memory and Psychological Diagnosis.” The study is organized into four chapters. The first chapter presents the research problem, formulated through the following questions: What are the implications of visual symbols in children’s drawings for the contents of their emotional memory? To what extent can these symbols be relied upon as tools for psychological diagnosis?
The aim of the research is to identify visual symbols and their psychological connotations, and to analyze the relationship between the content of drawings and the underlying emotional memory. The significance of the research lies in:
1- Revealing visual symbols and their psychological meanings in children’s drawings,
2- Analyzing the relationship between drawing content and the latent emotional memory behind it.
The second chapter (the theoretical framework) is divided into two sections. The first addresses the psychology of artistic expression in children and the concept of emotional memory, while the second focuses on visual symbols in children’s drawings, examining their functions and psychological meanings.
In the third chapter (research procedures), the researcher defined the research population and sample, which consisted of (300) drawings by children aged between (6–12) years. The descriptive–analytical method was adopted.
The fourth chapter presents the research findings, the most important of which are: (1) visual symbols in children’s drawings constitute a key to understanding emotional memory, as they reflect unconscious conflicts and psychological drives in a sincere symbolic manner; and (2) there is an innate compatibility between children’s drawings and abstract and symbolic styles, making drawing a safe channel for emotional discharge.
The study concludes with recommendations emphasizing the necessity of adopting drawing as a supportive diagnostic tool in both educational and psychological fields for the early detection of emotional problems.

The study, which delves into the art of visual communication and graphic design from a historical and practical perspective, employs multiple research methodologies to ensure a comprehensive approach.
Research Methodology
Descriptive-Analytical Method: Used to describe concepts related to visual communication and graphic design, and to analyze their artistic and aesthetic structures. This method helps to identify common features and distinct characteristics of different design schools.
Historical Method: Utilized to trace the origins of graphic design from early engravings to the digital age. It helps to understand the social and cultural factors that influenced the evolution of printing and visual communication arts.
Semiological Method (Semiotic): Relied on to analyze logos and posters by studying signs, symbols, and their visual connotations. It is useful for uncovering the rhetorical dimensions (simile, metaphor, metonymy, synecdoche) designers employ to influence the audience.
Comparative Method: Used to compare different art schools (such as Bauhaus, Arts and Crafts, the New York School, and Swiss Typography) and to identify differences in their visual expression styles.
Research Population
The total research population includes all visual and design works related to visual communication (logos, posters, printed materials, digital designs). It also encompasses theoretical productions (books, articles, and research) that have addressed the evolution of visual communication art.
Research Sample
A purposive sample of logos and posters was selected to represent:
Historical Periods: (manual printing, intaglio printing, letterpress printing).
Art Schools: (Bauhaus, New York School, International Typographic Style).
Contemporary Digital Design Models: This allows for a balanced representation of the historical, aesthetic, and communicative dimensions.
Data Collection Tools
Theoretical Sources: Specialized academic books on graphic design and visual communication art, in addition to previous studies.
Visual Sources: Practical examples of logos, posters, and printed materials.
Direct Observation: Monitoring how graphic design is used in reality (advertisements, websites, brands).
Documentary Analysis: Reviewing visual archives (historical posters, well-known logos).
Analysis Tools
Artistic-Aesthetic Analysis: To examine design elements (colors, composition, balance, contrast, rhythm).
Semiological Analysis: To decode the symbols and visual connotations in logos and posters.
Functional Analysis: To measure the extent to which the design achieves its objectives (marketing, awareness, artistic).
Comparative Analysis: To highlight the differences between various schools and visual approaches.
Research Limitations
Subjective Limitations: The research focuses on visual communication art within the field of graphic design, with a particular emphasis on the logo and poster as its most significant applications.
Temporal Limitations: The study extends from the historical beginnings of printing to the contemporary digital design era (21st century).
Spatial Limitations: The study covers global and Arab examples, with notable cases from Europe, America, and the Arab world.
Research Problem
The research problem lies in analyzing the rhetoric of symbols and their connotations in graphic design, specifically in contemporary logos and posters. The study aims to understand how designers translate abstract ideas and complex meanings into effective visual symbols. It also seeks to uncover the rhetorical dimensions (such as simile, metaphor, metonymy, and synecdoche) that designers employ to influence the audience. The importance of this problem stems from the fact that graphic design is no longer merely an aesthetic art but has become a vital and effective communication tool. Therefore, studying its symbols and connotations helps in understanding its functional and social role.
Research Objectives
To clarify the historical development of visual communication and graphic design.
To reveal the artistic and aesthetic structure of logos and posters.
To highlight the communicative functions of design and its role in influencing the public.
To employ semiological analysis to understand the symbolic and rhetorical dimensions in designs.
To connect the historical and contemporary aspects of visual design.
Research Questions / Hypotheses
Research Questions:
What historical and cultural factors contributed to the evolution of visual communication art?
How have different design schools contributed to shaping the features of modern graphic design?
What role do visual symbols and connotations play in the effectiveness of a logo and poster?
What are the similarities and differences between traditional and digital methods in graphic design?
Research Hypotheses:
Graphic design is an influential communication tool that transcends its aesthetic aspect to serve social and marketing functions.
The connotations of visual symbols are affected by different cultural and social contexts.
Mixing historical authenticity with modern techniques contributes to enhancing the effectiveness of contemporary designs.
Here is the English translation of the research significance and keywords.
Research Significance
Scientific Significance: Enriches the field of art and design studies by combining the historical methodology with semiological analysis.
Practical Significance: Contributes to guiding designers and those interested in advertising and marketing towards effective visual strategies.
Cultural Significance: Highlights the role of graphic design as a tool for expressing cultural identity and values.

This research focuses on the technical applications of collage in contemporary Iraqi painting – an applied study. It comprises four chapters. The first chapter outlines the research problem, its significance, the need for it, its objectives and limitations, and defines its key terms. The current research problem involves a clear and coherent intellectual vision grounded in new historical references within the context of contemporary Iraqi art, characterized by experimentation and continuous attempts to produce a creative work. This experimentation has taken various forms to ensure that the aesthetic and formal dimensions keep pace with these changes. Iraqi artists have thus been required to renew their expressive means to reflect these transformations on the pictorial surface of their artworks, resulting in a comprehensive artistic experience that expresses the aesthetic shifts in collage art. This creative experience fundamentally requires a clear and coherent intellectual vision grounded in new historical references within the context of contemporary Iraqi art, characterized by experimentation and continuous attempts to produce a creative work. Experimentation has taken various forms to ensure that the aesthetic and formal dimensions parallel these changes. The Iraqi artist's artwork, with its clear aesthetic qualities, reflects the nature of the evolution from one work to another, drawing inspiration from global contemporary art. This leads to the research problem, which seeks to answer the following question: What are the technical applications of collage in contemporary Iraqi painting? And how are these applications embodied artistically?
The current research aims to: identify the technical applications of collage in contemporary Iraqi painting. Within the scope of the research, the subject matter is a study of the technical applications of collage in contemporary Iraqi painting, executed using various methods. The timeframe is 2026, and the location is Iraq. Chapter Two comprises the theoretical framework and previous studies, consisting of two sections: the first addresses collage techniques in modern art, while the second examines collage techniques in Iraqi painting. Chapter Three details the research procedures, including the research population, the selection of a sample of six artists, the research instrument, the research methodology, and the analysis of the sample. Chapter Four, which deals with "Results and Conclusions," includes the following findings:
1. The most important aesthetic aspect of collage is the ability to fuse an added element with a specific functional form and integrate it with the structure of the pictorial surface, preserving its existing functional qualities.
2. The ability to identify aesthetic dimensions within the artist's environment determines the modern characteristics of collage. The research concludes with a list of references.

Abstract:
The present study examined the relationship between critical thinking and the artistic characteristics found in the drawings of students at the College of Fine Arts, University of Babylon. The first chapter addressed the research problem, which was represented by the following question: What is the nature of the relationship between critical thinking skills and the artistic characteristics in the drawings of Fine Arts students? The significance of the study lies in revealing the role of critical thinking in developing students’ artistic and visual awareness and contributing to the improvement of educational curricula and programs in colleges of fine arts. The objective of the study was to identify the relationship between critical thinking skills and the artistic characteristics in students’ drawings. The study was limited to students of the Department of Fine Arts at the College of Fine Arts, University of Babylon, during the academic year 2025–2026.
The second chapter presented the theoretical framework and previous studies. The first section discussed critical thinking in terms of its concept, characteristics, skills, and major philosophical and educational foundations. The second section addressed artistic characteristics in drawings, including their concept, elements, and relationship to artistic expression.
The third chapter described the research procedures. The researcher adopted the descriptive-correlational method, and the main sample consisted of 85 fourth-year students. A Critical Thinking Scale and an instrument for analyzing artistic characteristics and expressive contents were developed, and their validity and reliability were verified through appropriate statistical methods.
The fourth chapter presented and interpreted the results. The findings revealed: (1) variation in students’ levels of critical thinking, (2) variation in the levels of artistic characteristics in their drawings, and (3) a strong positive correlation between critical thinking and artistic characteristics, with a correlation coefficient of (0.86) at a significance level of (0.005). The study concluded that critical thinking contributes to the development of students’ artistic performance, that the quality of artistic characteristics is associated with higher-order cognitive processes, and that critical thinking enhances students’ ability to analyze visual problems and select appropriate artistic solutions. The study recommended integrating critical thinking skills into Fine Arts preparation programs, adopting teaching strategies based on analysis, criticism, and evaluation, and promoting artistic activities that foster reflective thinking. It also suggested conducting similar studies in other universities, investigating the relationship between creative thinking and artistic characteristics, and carrying out comparative studies across different academic stages in colleges of fine arts.

The current research, entitled "The Intellectual Contents of the Formal Formulations of Moatasem Al-Kubaisi's Sculptures," examines the contents formulated by the sculptor in his sculptural achievements. Human intellectual concepts are merely an expression of human reality and the expression of contents that represent the issues of his time in a contemporary style. The artistic output he presents bears the stamp of the local and popular culture to which he belongs. Hence, the research problem emerged in the form of a question: What are the intellectual contents of the formal formulations of Moatasem Al-Kubaisi's sculptures? Sculptural works consist of compositional elements such as line, mass, space, texture, shadow, and light, which are essential tools in shaping the form. Therefore, the sculptor used the foundations and elements of the composition of the artwork for various and diverse formulations that serve goals and objectives that distinguish them from other sculptural formulations belonging to contemporary artistic styles and schools in the creation of his sculptures. They came to embody scenes of human life under the circumstances that Iraqi society has lived and continues to live.

The current research, entitled "Time in the Works of the Artist Giacomo Balla," comprises four chapters. The first chapter focuses on the methodological framework of the research, specifically the research problem: Does the concept of time constitute an intellectual and structural foundation in defining the creative vision of the artist Giacomo Balla? The research aims to uncover the structure of time in Balla's paintings. The scope of the research is limited to studying the concept of time in the artist's paintings and analyzing selected examples of his artwork that appeared in Europe, employing a descriptive-analytical approach. The second chapter presents the theoretical framework, which includes two sections. The first section addresses the concept of time in human thought, while the second section is titled "Time in Painting." The second chapter concludes with indicators for the theoretical framework. The third chapter details the research procedures, including the research population, sample, and research instrument, followed by the analysis of the sample, which consisted of three paintings. The fourth chapter presents the research results and conclusions, along with recommendations and suggestions. The research concludes with references and appendices

Abstract:
The cinematic discourse is one of the means of communication that employed philosophy in its topics to pass on its media message. The philosophy of liquid modernity has been intertwined with the cinematic discourse after cinema entered the world of consumption on the one hand and the emergence of the topics of liquid life, liquid love, liquid fear and liquid time in its formal home on the other hand.
The research witnessed four chapters, the first chapter included the problem of research, its importance, problem and limits, while the second chapter included two first topics entitled Philosophical Transitions from Major Narratives to Liquid Modernity and the second topic entitled The Language of Liquid Significance in Cinematic Discourse as well as Indicators of the Theoretical Framework. The third chapter included research procedures such as the research methodology, its society, the research sample ( Dog Tooth) film by the Greek director (Yorgos Lantimos) , the analysis tool, the analysis unit and the analysis of the sample, while the fourth chapter included the results and conclusions to conclude the research with margins and sources.

The Holy Quran is a central pillar of the Islamic educational process. The importance of teaching and understanding it lies in instilling religious, linguistic, and cultural principles in students. With the development of educational methods, the need has arisen to employ visual media as a supportive tool to facilitate understanding and interpretation, especially posters and illustrations, which have proven effective in enhancing students' reading comprehension. This research consists of four chapters. The first chapter addresses the research problem and its significance, followed by the research objective: to identify and redesign educational posters to improve students' reading comprehension skills in the Holy Quran.
The second chapter presents the theoretical framework, comprising two sections: the first focuses on poster design, and the second on reading comprehension skills.
The third chapter details the research procedures, including the research population, sample, research methodology, and the analysis of research samples using the indicators of the theoretical framework. The most important findings include: educational posters facilitate the understanding and interpretation of verses sequentially, reveal the structure of the Quranic verses, and effectively convey ideas when redesigned, unlike traditional images.

Abstract
The research addresses the concept of determinism as a philosophical doctrine that assumes that every phenomenon has a cause for fixed laws that lead to inevitable results of previous events. The research then moves to study it on the scenic action in the structure of the theatrical performance, whether it is a predestined determinism, or a social determinism whose factors control the fate of the characters, or a psychological determinism in which they move according to unconscious internal conflicts that lead them to inescapable results, as if they are in a state of lack of free will, controlled by forces outside their control that manipulate their fate and exercise their power through the scenic action. From this, within (Chapter One), the research problem, which is centered on the following question: How does the deterministic hypothesis contribute to shaping the scenic action of the Iraqi theatrical performance? This was followed by a discussion of the importance and necessity of the research, its objectives, and a definition of key terms. Chapter Two comprised two sections: the first examined the concept of determinism, exploring its philosophical, psychological, and social dimensions; the second explored its manifestations in theater through an analytical approach, followed by key indicators. Chapter Three presented the research population and sample, which consisted of a performance of the play "Dead Matt" by Abdul Nabi Al-Zidi, both written and directed by him. Chapter Four presented and discussed the results, concluding with the research findings, references, and a list of sources.

This research explores the "dialectical transformation between intentionality and chance" as a fundamental pillar in the structural formation of contemporary ceramic art. The research problem emerges from a core question: How does the artist's conscious will (intentionality) interact with the spontaneity of the material and technical events (chance) to produce a contemporary visual discourse? The study aims to uncover the philosophical and technical mechanisms governing this transformation within formal systems and surface manifestations. Adopting a descriptive-analytical methodology, the theoretical framework consists of two main sections: the first examines the philosophical roots of intentionality and chance, while the second focuses on their applications in modern art schools and global ceramic techniques (such as Raku).
The research yielded several key results, most notably: contemporary ceramics represent a "tense partnership" between the artist's self (intent) and the material's resistance (chance). Chance is no longer viewed as a technical error but has evolved into a conscious "creative methodology" that bestows the work with aesthetic wonder and a sense of uncertainty. Furthermore, the study demonstrated that reductive techniques (like Raku) act as a dynamic mediator, allowing chance to manifest under the umbrella of "open intentionality." This has contributed to shifting ceramics from a functional sphere into a conceptual and sculptural domain.

This research aims to examine the role of integrating signage systems with interior design elements in enhancing spatial identity within Iraqi interior spaces, particularly in light of the challenges imposed by visual globalization and the diversity of design patterns used in contemporary buildings. Visual identity clarity constitutes a fundamental part of the user’s perceptual experience and directly depends on the degree of harmony between wayfinding elements such as color, typography, symbols, and materials and the physical and functional characteristics of the interior environment. The research problem lies in the absence of a clear design framework that connects wayfinding systems and signage to interior design components, which often leads to visual fragmentation and weak expression of spatial identity in educational, governmental, and service buildings in Iraq. This deficiency negatively affects the user’s ability to navigate, understand spatial organization, and build visual and cultural attachment to the place. The study aims to identify the impact of integrating signage with interior design on enhancing spatial identity, analyze the degree of coherence between wayfinding systems and interior design elements, and establish design criteria that contribute to developing an integrated model applicable in future Iraqi projects. The research adopts an analytical approach to examine real-world interior environments through direct observation and visual content analysis of materials, colors, and typographic components. In addition, surveys and interviews with users and interior designers were conducted to measure the effectiveness of wayfinding systems and their alignment with the overall visual identity. The inductive method was also employed to derive general conclusions from partial field and theoretical data. The findings reveal that integrating signage with interior design clearly contributes to strengthening spatial identity and reducing visual discontinuity that occurs when signage is applied separately from its spatial context. The results further show that selecting appropriate materials and colors, addressing lighting considerations, and embedding signage elements within the spatial fabric rather than adding them as secondary components enhances the quality of spatial experience and increases users’ psychological attachment to the place. The study concludes that a comprehensive design framework can be developed to ensure coherence between wayfinding systems and interior design in accordance with the cultural identity of Iraq.

Research Summary
Artificial intelligence refers to intelligent systems that rely on the automated processing of kinetic, auditory, or visual data, contributing to shaping the performative interaction between the theatrical actor's body and smart media. This influences the structure and aesthetic direction of the theatrical actor's performance, raising profound ontological questions about the nature of the actor's performance, the limits of their presence and effectiveness, and the aesthetics of the interaction between the artistic body and smart media The first chapter addresses the research problem, which is defined as the mechanisms by which artificial intelligence (AI) operates in constructing and reorganizing the interactive relationship between the body and smart media within the performance of contemporary global theatrical actors, and the impact of this on the aesthetic and expressive structure of the performance. The research highlights the importance of AI, demonstrating its role in the interaction between the performer's body and smart media in virtual space, and showing how AI has become an active element in theatrical performance. Furthermore, the research contributes to deepening the theoretical and practical understanding of how interaction affects the theatrical actor's performance, and to redefining the concepts of presence, performative effectiveness, and the represented self in light of AI developments. The research aims to identify AI and its role in constructing the interaction between the body and smart media in the performance of contemporary global theatrical actors. The research is limited in time (2018–2026), geographically (encompassing a group of countries worldwide), and thematically (artificial intelligence and its role in constructing the interaction between the body and smart media in the performance of contemporary global theatrical actors
In addition to defining the terms used in the research title, the second chapter (theoretical framework) consisted of two sections. The first section was titled: Artificial Intelligence: Origins, Concept, and Function. The second section was titled: Artificial Intelligence in Theatrical Art and its Role in Producing Aesthetic Interaction between Performing Arts and Smart Media. The third section was titled: Artificial Intelligence and its Effectiveness in Shaping Intelligent Algorithmic Performance. After searching and investigating, the researcher found no previous studies on artificial intelligence and building interaction between the body and smart media in the performance of contemporary international theatrical actors. The third chapter was dedicated to the research procedures. The research population was defined as (10) theatrical performances, from which the researcher extracted the research sample, which included three theatrical performances: (Valley of Strangeness) in 2006, directed by Stefan Herbeck; (Artificial Intelligence: When a Robot Writes a Play) in 2021, directed by Daniel Herbeck; and (The Dream of Artificial Intelligence) in 2026, directed by Mula. The researcher used a descriptive approach in analyzing the data, relying on the theoretical framework's indicators as a tool for analyzing the research sample. Chapter Four included the results, conclusions, and recommendations, and the research concluded with a list of sources and references

Abstract
This study aimed to investigate the relationship between individual self-efficacy beliefs, individual creativity, and classroom management among teachers in Tehran's Fifth Educational District. The study employed a quantitative approach, with an applied research objective and a descriptive correlational approach for data collection, fieldwork, and application. The statistical population comprised all primary school teachers in the Fifth Educational District, totaling approximately 1430 teachers. A sample of 303 teachers was selected using stratified random sampling via Morgan's Table. Data collection instruments included the Classroom Management Questionnaire by Wolfgang and Glickmann (1986), the Individual Creativity Questionnaire by Randsip (1979), and the Individual Self-Efficacy Questionnaire by Riggs and Knight (1999), which consisted of 106 questions. Confirmatory factor analysis was performed, and the reliability of the questionnaire was reported based on Cronbach's alpha coefficient for all values greater than 0.7. Cronbach's alpha coefficient for instrument reliability was 0.903 for individual self-efficacy, 0.863 for individual creativity, 0.894 for instructional management, 0.892 for behavior management, 0.808 for people management, and 0.822 for the overall score. Structural equation modeling (SEM) and SPSS 22 and Lisrel 8.8 software were used to analyze the research data. The results show that beliefs in individual self-efficacy and individual creativity are associated with teachers' classroom management. Based on the findings, it appears that teachers' beliefs and perceptions of their abilities lead to a positive attitude toward using creative teaching methods. Teachers who believe in their abilities use more creative and effective teaching methods.

Abstract:
We aim through this work to reflect on the issue of perceiving aesthetic values in art, based on our belief in the importance of perception in attaining aesthetic awareness of values. This aligns with the path of phenomenology, as long as the artistic experience — whether in creation or reception — is characterized by subjectivity. It begins with aesthetic sensitivity and proceeds to the interpretation of what is presented to the eye or ear through perception, in harmony with the individual's capacities and lived experiences. Accordingly, the inquiry into aesthetic values becomes an inquiry into the experiences of taste and perception.
Consciousness in the aesthetic experience, as in other experiences, is summed up in the individual's capacity to understand. In this sense, consciousness is what determines the object, and nothing determines it. That is, it is defined by what it is aware of among the objects of perception. Every act of consciousness is, by its nature, necessarily directed toward something it intends.

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This study presents a philosophical analysis of the concept of serious irony in contemporary industrial products, framing it as a critical strategy that transcends mere formal satire. Serious irony is activated as a mechanism for reinterpreting symbols and contexts, thereby stimulating the user's critical perception. It is manifested in the paradox between formal simplicity and functional complexity, inviting the user to reinterpret the product without mocking them. Moreover, seriously ironic design adopts a critical philosophical stance that challenges clarity and stability, prompting a re-examination of concepts such as truth, identity, and function. It also interrogates modern individualism by highlighting the tension between freedom and isolation, as well as between subjectivity and belonging. Through this, the industrial product is endowed with a humanistic and epistemic dimension that goes beyond utilitarian function, establishing design as a philosophical and dialogical medium in confronting the challenges of the postmodern era.

Abstract
aimed to identify the effect of the cooperative learning strategy on the achievement of primary school students in art education. The experimental method was used. The research sample consisted of (60) students from Al-Jahiz School in Babylon Governorate during the 2025-2026 academic year, with (30) students in each of the experimental and control groups. The cooperative learning strategy was tested and its effect on the achievement of primary school students was identified. The validity and reliability of the study instruments were verified. The results showed that the use of the cooperative learning strategy had an effect on the achievement of primary school students in art education. The arithmetic mean and variance for the two groups were calculated. Using the t-test for two equally matched independent samples, the calculated t-value was found to be greater than the critical value at a significance level of (0.05) and degrees of freedom of (58). This means that the result is statistically significant in favor of the experimental group. This indicates the superiority of the experimental group students, who studied using the cooperative learning strategy, over the control group students, who studied using the traditional method, on the achievement test. Therefore, the first null hypothesis of the research is rejected. The reliability of the multiple-choice objective items of the achievement test, consisting of (50) items, was calculated using the internal homogeneity method by applying the Kuder-Richardson-20 equation, which yielded a value of (0.87). This is considered a good reliability coefficient. Thus, the test is ready. In light of the study results, the researcher recommends:
- Implementing the cooperative learning strategy in teaching art education in the fifth grade of primary school, due to its clear and positive impact and its effective role in raising the level of academic achievement. Raising awareness among teachers about the importance of developing students' emotional skills by increasing their active participation in the educational process, through planning and organizing classroom activities and linking them to the external environment. This leads to the transfer of learning, increased educational outcomes, improved performance, and ultimately, the achievement of desired educational goals. List of sources and references

Research Abstract
The current study investigates the representations of reification in contemporary Iraqi painting in light of capitalist thought. The research consists of four chapters. The first chapter addresses the research problem, which is formulated as the following question: How is reification represented in contemporary Iraqi painting in light of capitalist thought? It also presents the significance of the study and the need for it, as well as the research objective, which is to identify the representations of reification in contemporary Iraqi painting within the framework of capitalist thought. The temporal limits of the study span from 2018 to 2024, while the spatial limits are confined to Iraq. This chapter also includes the definition of key terms used in the research. The second chapter, which constitutes the theoretical framework of the study, is divided into two sections. The first section examines the concept of reification from a philosophical perspective, while the second section discusses the representations of capitalist thought in contemporary Iraqi painting. This chapter also includes the indicators derived from the theoretical framework and a review of previous studies. The third chapter focuses on the research procedures and the research sample, which consists of three (3) visual models analyzed within the specified temporal and spatial boundaries, representing works by contemporary Iraqi artists. In the fourth chapter, the researcher presents a set of results and conclusions, the most significant of which is that many artists have criticized capitalism by incorporating industrial symbols into their artworks to convey a message to the viewer about the dominance of mechanized thought in the reification of the human self and the
replacement of human thought with industrial thought. The study relies on the
description and analysis of artworks, leading to a set of proposals and recommendations. The research concludes with a list of references and sources

Research Summary
This research is concerned with studying (the features of postmodernism in Soviet painting) and it consists of four chapters. The first chapter includes defining the research problem, which is clarified through the following question: What are the features of postmodernism in Soviet painting? The research also aims to identify the features of postmodernism in Soviet painting. The scope of the research is limited to studying works produced between 1959 and 1996. Chapter Two (Theoretical Framework and Previous Studies) comprises two sections. The first section examines two main points: the first, conceptual differences, and the second, the concept of postmodernism in Soviet painting. The third chapter included the procedures related to the research community and its sample of (3) artworks. The fourth chapter included the research results and conclusions, as well as the recommendations and suggestions. The research concluded with a list of research references, sources and references, and an appendix on the research community.

Research Summary:-
In non-verbal theatre productions, the director seeks alternatives to the spoken word, replacing it with available theatrical elements communication. The most prominent of these elements constitute the visual composition on stage, supported by other components of non-verbal theatre, such as sound effects and more. In such productions, the director may rely on technological visual media—such as screens and lighting—or non-technological media, like the actor's body, costumes, and set design, to serve as the primary vehicle of expression. The research aimed to uncover the methods through which these media can be utilized for visual shaping in non-verbal theatre to convey the production's subject to the audience and achieve its purpose. The research concluded with results consistent with this aim, as both technological and non-technological visual shaping media in the study sample were shown to express the themes of Iraqi non-verbal theatre and communicate the events and concerns of the Iraqi people.

Abstract
Ceramic art is considered one of the oldest applied arts that has accompanied humans since ancient times. This art has evolved over time from a technical function to a contemporary formative medium. Artistic printing techniques, including graphite printing, contribute to enriching the ceramic clay surface with new expressive and constructive possibilities that go beyond the limits of traditional manual decoration, giving the artist innovative design solutions, thus linking drawing, printing, and ceramics. This makes us deal with the clay surface as a (paper) that receives the printing effect, taking into account the nature of the clay, its degree of dryness, the type of colors and colored clays used, and their ability to withstand burning temperatures in kilns.
Ceramic art is considered one of the oldest applied arts that has accompanied humanity since ancient times. This art has evolved over time from a technical function to a contemporary formative medium. Artistic printing techniques, including graphite printing, contribute to enriching the ceramic clay surface with new expressive and constructive possibilities that go beyond the limits of traditional manual decoration, giving the artist innovative design solutions that link drawing, printing, and ceramics. This makes us deal with the clay surface as a (paper) that receives the printing effect, taking into account the nature of the clay, its degree of dryness, the type of colors and colored clays used, and their ability to withstand burning temperatures in kilns.
The current research deals with the use of graphite printing technique on the pottery clay surface using tools and materials and how to use this technique in the production of pottery artworks. The research consists of four chapters: The first chapter included the research problem, which resulted in the question: Is it possible to use graphite printing technique on the pottery clay surface?
It also included the importance of the research and the need for it, which lies in the fact that:
1. There is no specialized study to research the use of printing (graphic) technique on the clay surface in particular.
2. The current research benefits the study in the field of printing and ceramic art in colleges and institutes specialized in fine arts.
Therefore, my research objectives are to apply graphite printing technology to the clay surface of pottery and to identify one of the methods and techniques of printing on the clay surface, as well as the research scope and definition of research terms.
The second chapter included the theoretical framework and covered the following topics, including a historical overview of printing technology, types of printing, and inks used in printing.
The third chapter included the experimental methodological framework and how to prepare the clay used to conduct the research experiment, the materials and tools used, and the method of work.
The fourth chapter included a discussion of the results of the experiment and the conclusions.