Abstract

All visual arts in the post-modern era, including ceramics, have a language that forms features and connotations. Therefore, the researcher studied these features and divided them into an introduction that included the research problem, which is clear from the following question: What are the features of body language and its applications in post-modern ceramics? This is of cognitive importance as it provides an objective study for researchers in ceramic plastic sciences. In addition, the aim of the research is to reveal the features of body language and its applications in post-modern ceramics. As for the materials and methods, they included the limits of the research, its variables, and the theoretical framework that shows these variables and how these features were linked. The framework concluded with the most important indicators that resulted from the theoretical framework. The research also included the procedures related to the research sample, the research tool, and the sample analysis. Finally, the research included the results and conclusions, followed by the sources that the researcher used to complete his research.

Highlight:

1. Post-modern ceramics reflect features and connotations of body language.
2. Research explores theoretical framework, variables, and applications in ceramic sciences.
3. Results reveal key indicators, conclusions, and supporting references.

Keywords: Countenance, body language, postmodernism

Introduction

The human body diagnoses cases by (simulation) as a broad system that generates signals that carry all cognitive connotations, and its language is constantly changing from one state to another, and is considered the most important phenomenon that has entered the visual arts, depending on what that body possesses of energy and its ability to move its parts in a way that is consistent with the nature of the influential image, its shape and its purposes. The shape of the human body is a language that showed connotations through dynamic energy that formed a moving visual language that differs from that spoken and ordinary language, because it is composed of blades and waves represented in gestures and movements and its ability to present new appearances, and through it many interpretations and formations can be highlighted to create visual appearances that reflect multiple topics, so it is certain that body language is one of the important research topics. Due to the many studies with a social, ideological and anthropological dimension that have addressed it, as it clarifies its cognitive role, through the interaction between individuals, attention has recently been directed to studies that study the relationship between this language and peoples and cultural and artistic frameworks.

Regarding the visual arts in general and the art of ceramics in particular, body language and its effectiveness in sending messages constituted an aesthetic phenomenon as it is the product of culture, traditions and societal systems, and what it achieves in terms of creativity to support the artistic balance with knowledge. From this standpoint, the researcher identified the problem of his research and formulated it in the following question (What are the features of body language and its applications in post-modern ceramics?).

The importance of the current research lies in studying the topic (Features of body language and its applications in post-modern ceramics) and what this topic carries of artistic values, while viewing the sculpture in an aesthetic way that blends with reality, while the need for it lies in the fact that it benefits students of faculties of fine arts and their institutes and all specialists in the art of ceramics and pottery, by familiarizing them with the most important (Features of body language and its applications in post-modern ceramics), and what it achieves in terms of knowledge for those interested in the specialty of plastic arts, as well as benefits workers in all artistic and educational institutions, especially potters. As for the goal of the research, it constitutes revealing the features of body language and its applications in post-modern ceramics

Methods

2.1 Research limits:

Time limits: 1997-2016.

Spatial limits: Russia-Italy.

Subject limits: Studying the features of body language and its applications in postmodern ceramics.

2.2 Search terms:

2.2.1 Features (Countenance)

Linguistically, He hinted at it, like preventing: he stole a glance, like a glance, lightning, and a star: flashed, glanced, glanced, and hinted at, and he is a glimpser and a glancer. In addition, he made him glimpse and the woman from her face: she enabled him to glimpse, the beautiful woman does that, she sees her beauty and then hides it. Moreover, I will show you a clear glance: a clear matter. In addition, the features: the similarity, and what appeared from the beauty of the face and its faults, the plural of glance, rare. In addition, Karaman: the intelligent falcons. And the one who glances a lot. In addition, his sight took him [1].

Procedural definition: It is a group of prevailing features associated with the forms expressing a new experimental tendency in the artistic form.

2.2.2 Body language:

Language: "The human body is his own, plural: bodies, and it may be said for someone who is rational and not human, and for every rational creature that does not eat or drink" [3].

Technically: "The language of ancient societies to exchange information without using the language of the tongue, and it is stronger than the effect left by words, even after the discovery of writing" [17]"

They are messages in different situations and circumstances, which show... buried feelings and bring them out... so that information or ideas about the other person are conveyed through them so that he cannot hide the ideas that are going on in his mind" [22].

Procedural definition: They are kinetic expressions produced by all parts of the human body to give a meaning, to form a meaning in the mind of the recipient.

The body in Western philosophical thought has received clear attention in light of studies and fields of knowledge that considered it an important starting point for understanding the living being in all its physical, philosophical, moral and semantic aspects, in order to determine the extent of its development through historical stages and scientific visions that discussed its subject and its functional uses in broad scopes as it is a visual and sensory value through which the manifestations of the human spirit are manifested. “In the middle of the fifth century BC, conflicting philosophical currents began to flow into a huge intellectual current, one of the greatest tributaries of which was the integrated philosophical systems whose foundations were laid by Socrates, Plato and Aristotle.” According to the dualities that philosophically approach the body, it has become a problematic question that opens up to several philosophical levels, and moves through different cognitive stages.” [12], These trends have referred the body to a unique cognitive subject with the ability to possess its own composition to be formulated according to dualities that philosophically approach the body, so it has become a problematic question that opens up to several philosophical levels, and moves through different epistemological stages. Interest in the subject of the body in Western philosophical thought has centered on a group of dualities according to the opinions and perceptions of philosophers since ancient times, as they considered that the soul - or spirit and thought - transcends the body or vice versa, and this difference in opinions produced a belief in the difference in the elements that make up the human essence, body/spirit, body/soul, body/mind. Among the enlightenment philosophers who addressed the concept of the body are:

Immanuel (Kant) (1798-1857 AD): (Kant) represents the formal or critical rationalist school, and for this reason, his philosophy was called (critical philosophy). This philosophy includes an attempt to put an acceptable end to the conflict between the rationalist school in its classical form, and the experimental school. The philosophical structure of (Kant) came based on three main areas, which are (knowledge - ethics - feeling), and its general subject depends on three faculties, which are (imagination, perception, reason), and all of them are related to the intellectual interest. (Kant) agreed with the experimental philosophers in certain opinions, including that "human knowledge in its theoretical aspect is knowledge of the world of experience or the world of phenomena or the natural world in which we live, and our sensory intuitions are our first source of this knowledge. We obtain these intuitions thanks to our sensory ability, that is, our ability to receive data from the outside" [11], The body has gained in the philosophical field Kant had a clear interest in distinguishing the existence of the thinking self from other things, so he studied previous philosophies and deduced the mechanism in which the subject of the body was addressed as an attempt to establish the method and highlight the cognitive dimension of the ego called according to Kant the transcendental ego "which is what is expressed by the phrase or idea (I think), it is my idea of my existence, it is my feeling of myself, and this self does not refer to a subject, that is, it does not refer to anything existing, nor does it refer to the self that I know in my experiences, it only refers to the necessary condition for me to obtain knowledge of something, and this condition is a logical necessity for thinking to occur, and in order for there to be thought, there must be a thinking self [18], The researcher believes that this self falls under the name of the human being who possesses, according to Kant, two internal and external experiences, the first makes him feel the existence of the body in place and the second generates a feeling of the existence of the self in time, so "Kant deals with the characteristics of the organic body in the angle of the goal or idea that highlights its existence and the operation of its functions... and according to his opinion The organic being possesses a self with a formative capacity and is capable of spreading outward and influencing another substance [9], and thus becomes compatible with the concept of physical essence to achieve the immediate existence that should be a spatial and temporal existence in order to achieve the formal conditions of the world of phenomena. The researcher believes that (Kant) combines the body and the soul as two experiences that can logically come together in a real existence, and for this reason the subject of the body has raised many philosophical discussions with (Kant) and other philosophers because it opens up to bets that touch reality and human existence that was built, according to (Kant's) point of view, on a fabric of phenomena that the ego activates with its moral and cognitive will together.

Friedrich Nietzsche (1844-1900 AD): Nietzsche relies in his philosophy based on the action of the self and its being within society, calling for work to revive a superior human being who rises with his strong personality. He came up with the concept of the superman (the higher man), placing strength at the forefront of the foundations that elevate morals and individuals in societies. "Nietzsche was widely influenced by Darwin's theory... If life is the struggle for survival and the survival of the fittest, then strength is the basic virtue, and weakness is the only defect. It is good that lives and triumphs, and evil that surrenders and fails" [21], Thus, individual transcendence becomes an expression of the supermanism that Nietzsche tried to instill in the human body to elevate it and grant it an exception through which it transcends its tangible presence, so that its presence becomes moral and material, qualifying it to possess power. This unlimited interest The human body “gives it a continuous superhuman activity, it prepares the body for an ageless power as it pushes it to move, to contemplate itself and to try to absorb the contradictions around it and within it, and to dissolve them as much as possible so that the body becomes the model, the body that is universally emulated” [8]. The researcher sees that this was more like a call to renew the strength of the body that weakness began to affect in classical philosophies and make it lose its universal and functional presence. Nietzsche considered that classical philosophy misunderstood the body and its physical presence. “I propose to take the body as a starting point and make it a unifying thread. This is the basis. The body is a very rich phenomenon that allows for clearer observations... We must put the body in the first place for methodological reasons, without preconceptions about its ultimate meanings. As for consciousness, it is only a tool. Therefore, the hierarchy must be reversed and everything that is intellectual must be kept as the coded language of the body” [23]. The body presents itself as a balanced and conscious essence that exercises its physical presence from an existential perspective through which the individual enters the world to ensure the continuity of survival. The body presented itself as a balanced and conscious essence that exercises its physical presence from an existential perspective through which the individual enters the world to ensure the continuity of survival. “This Nietzschean refutation of the classical concepts and metaphysical beliefs established by theology made him restore consideration to the body and call for the necessity of transcending dualities, the world, the afterlife, good, evil, the soul, the body... At the level of the human self, a truth is manifested through its body. It is a conscious body that roots us in the world and enables us to perceive it” [2]. The researcher believes that Nietzsche draws our attention to the unlimited possibilities of the body. It is the origin from which forms of thought and consciousness emerge thanks to the authority granted to it through the concept of superhuman power derived from Nietzsche’s concept of the Herculean and Dionysian body, which he raised as a slogan for his philosophical thought. “What is meant by the body is that living being as it is the source of consciousness, thought, and movement. It is the origin from which every mysterious form of thought and forms of The consciousness that the specific philosophies have adopted for it represents the end of what Nietzsche calls on the tongue of Zarathustra in his saying: The body is your big mind and this small mind that we call consciousness is nothing but a small tool and a toy in the hand of your big mind that can create your thoughts and feelings, a more influential being, an unknown sage who inhabits you, it is your body [19]. The researcher believes that Nietzsche’s opinion about the body has its transcendence and presence through his rejection of weakness and his commitment to the will to power in its material and active organic dimensions. Nietzsche’s conception of this body is not merely a sum of certain forces that form a chemical, biological, social and political body, but rather it is a relationship of active forces that rise up to bring what prepares it to control vital areas, whether internally or externally.

2.2.3 Postmodernism - post modernism

Typically:

(Dick Hebdige) defined it as: "A state of loss of centrality, and of branching and dispersion, in which we are driven from place to place through a series of reflective surfaces like opposite mirrors" [5].

(Al-Ruwaili and Al-Bazie) defined it as "the sum of the different and multiple circumstances and conditions in which social and cultural aspects are mixed, so that it is not possible to distinguish between what is social and what is cultural" [13].

Procedural definition: Ideas linked to reality and ideal subjects to produce awareness with new connotations and forms that call for a multiplicity of meaning.

This term emerged and worked as a trend through modernist thought mixed with organized creative chaos, and due to the emergence of many cultural conflicts, different developments occurred at various cognitive levels, changing the content of theoretical conceptual fields, which made the new cognitive world change the productive identity of Western society according to Western production methods. Society. The political and economic system, in turn, destroyed all the concepts on which the Marxist framework was based and transformed them into trends. Others believe in the aspirations of capitalist globalization that seeks free and original production that is open and flexible in nature and not restricted by specific institutions. According to Lyotard, postmodernism abolishes all comprehensive modernist boundaries, to fall into a circle of contradictory and illegitimate ways with a single direction to produce alternative values that touch the real world. Industrial images and images that conflict with industrial images Experimental actions and their intertwined strategies assume transcendent truth. The thesis of Jacques Derrida was the first to create this concept that calls for pluralism in the production of meaning that "postmodern politics offers a way to add fluidity and uncertainty to local conditions" [6]. This means that postmodernism establishes a new system of innovations and performance that depends on changing institutions, indicating that despite the possibility of continuous communication with past discourses, it can only exist due to its own production of knowledge. A different position was taken, based on the idea of delaying the truth by appealing to the creative mind to curb and eliminate the new. Moreover, about the exacerbation of backwardness through the complete abandonment of patterns of cognitive and cultural production that have drained human energies for centuries. The means of insisting on globalization and media systems deny all the justifications and established rules on which the legitimacy of modernity is based, to create a marginalized, destructive developmental discourse that collapses the standards of language and closed language. And then rejects the authority of reproduction and fixed formal metaphors. According to Foucault, contemporary art is in a contradictory dialectical struggle... Due to the dominance of cultural and social models, contemporary art has become a victim of political illusions, which have created special systems and institutions for art. Because the new age is always looking to its own cognitive framework and its own system of expression to express their vision of the world in a different unconscious way. [14]

Any rationality is supposed to recognize its limits and comprehend the conditions for its realization, as reason cannot be applied to life if it itself does not recognize the specificity and uniqueness of life, and this is what Nietzsche realized when he considered life a vital field that escapes the grip of every rational [16].

Just as the scene of intellectual reading changed, the ceramic systems changed to carry disintegrated alien images that resort to penetration, ambiguity, vulgarity, and fragmentation of the relative process to announce the discourse of shaking and undermining the prevailing patterns such as (authority, reason, centrality of meanings), so the strange performative identity became the differential reference authority that determines the system of systems and their legitimacy “The difference becomes, as deconstruction formulates it, the continuous and uninterrupted postponement of all forms of authority, identity, and meaning” [15]. The researcher believes that human instincts seek to transcend systems in order to achieve their goal, so chaos is their outlet and a tool to achieve their goal, as chaos aims to clarify the truth in explaining the complex and unexpected results resulting from this change that occurred in the theatrical image, meaning that a very simple change in the theatrical image can lead to unexpected and sometimes violent results by causing the launch of a series of events whose importance grows with the continuation of this chaos and the construction of new ideas based on the rubble of chaos and dispersion. The task of creating chaotic aesthetics is not an easy task, especially if these aesthetics are of an artistic form that bears a philosophical and therapeutic aspect, and this is what postmodernism emphasized in its elements and work, especially on the chaotic aspect, as "the system no longer cares whether we believe in it or not, and it no longer needs to believe in our spiritual complicity with it as long as we do what it asks of us. It no longer needs to pass through human consciousness in order to renew itself, but it only needs to make this consciousness always busy with other things in a state of lack of focus" [20]. The researcher seeks that the postmodern potter must come up with ideas with a chaotic source that aim to reach the truth, which is from the artist's point of view a real chaos that is formulated artistically, so we find modern topics mixed with historical topics, and human beings mixed with animal topics such as the relationship of the child to the egg in the topics of Chinese porcelain.

2.2.4 Theoretical framework indicators:

1. Body language is a science in itself, and interprets what the performer imitates through movements and gestures.

2. Body language presents different and multiple situations and forms, according to the philosophy and beliefs of the era.

3. Body language sometimes establishes its identity and the behavior of the other's identity in sociological, ideological, anthropological, biological, and psychological forms.

4. Chaos, order, and decentralization in the method of expression are a form of postmodernism, at the level of the idea and the performance form.

5. Difference and multiplicity in the form that carries several paintings in one image is a dominant feature of the postmodern form.

6. The emergence of the authority of form with excessive freedom over the content in the subject, and the dominance of the unfamiliar character over the familiar.

3. Research Methodology and Procedures

3.1 Research sample: The research sample, which numbered (2) ceramic models, was chosen randomly to link the samples to the research topic (body language features and its applications in post-modern ceramics). The reasons for the selection are:

Modern samples that have not been studied before.

Consistent with the philosophical systems of post-modernism.

Bearing the characteristics of post-modernism.

3.2 Research methodology: The researcher adopted the descriptive-analytical approach to link it with the research goal and objectives.

3.3 Research tool: The researcher adopted the following:

What the theoretical framework resulted in indicators.

The researcher's personal experience as he specializes in the visual arts in general and ceramics in particular.

The researcher's cognitive and practical stock in ceramic arts.

3.4 Sample analysis:

3.4.1 Sample 1

Figure 1.Sample 1

Visual description of the form:

The structure of the ceramic work comes through the grotesque body intertwined with a group of three naked human bodies based on multiple human faces, placed on a circular base with four animal legs, and spread across unrealistic vocabulary, needing to show the overwhelming end of a form of creative experience, characterized by the characteristics of contradiction and contrast in contemporary concepts, which requires completing the unclear images and launching them in a dispersed style. It emphasizes the complete organization and gives it aesthetic and artistic characteristics that differ from the characteristics of the classical tradition.

Visual form analysis:

It interprets a clear meaning carried by the body, a language that reveals what is behind the form and speaks about the state of humans in the post-modern era and the interpretation of their behaviors, pushing their bodies towards chaotic desires, pushing social values towards denial and destruction through the multiplicity of free ideas that destroy intellectual origins through the weak self that carries emotion and its dominance over traditions, judgments and customs. The body language spoke about the self-pleasure of European societies, which is considered a fourth authority like money, governance and sex. The idea was conveyed here through the human element that formed a sovereign element for rejection and detachment from all the authoritarian speeches practiced against it, so it practiced and this is clear from what it employed, the naked bodies were extended and pulled upwards in a tight manner to express the revolutionary character and activate the Marxist position seeking social alienation under the names of resentment for the false authoritarian effect and the exclusion of the free self in order to promote new titles that legitimize independence and unleash the imaginative activity to spread Energies and presenting a sensually influential ceramic model without separating from the pictorial nature of the Western consumer society.

Here, chaos and multiplicity emerge in the interpretation of the existing and the idea systems and reconsidering their dimensions and presenting them in a new formulation that dialogues with human self-awareness to present a culture from the consumer to the producer recipient.

From an anthropological point of view, these three bodies represent the European-African mixture in the formation and establishment of the American race, a mixture of several cultural identities and contrasting colors. It is not an insult to the American race, but rather a brief for the recipient to learn about the philosophy of the self by returning things to their origins in a genealogical way.

Through the language of the body, the self refuses to submit to the restrictions of traditions and racism and submits to liberation, and what the ceramic form carries of connotations is an invitation from the artist to the recipient to go beyond the limits of the restrictions imposed by the authority of racism and marginalization.

3.4.2 Sample 2

Figure 2.Sample 2

Visual description of the figure:

The figure of the potter in this artistic achievement is a middle-aged man sitting on his knees, raising his hand up in a gesture indicating something, as he peels off the body of another dissolute female, trying to call for help from someone. This mural has a wooden background on which this sculpture representing the man was placed, made of colored porcelain.

Visual form analysis:

The potter relied in this work on how to show body language in a realistic manner, indicating that the ceramic achievement from a semantic perspective grants the dominance of the material over humans, through the clear moment of dialogue between the man and the recipient and the movement of the body and its position and what it carries of psychological contents, and that the sitting position of the body shows the attempt of this human coming from the womb of the mother out to the tiring and harmful life that carries the tragedies of the human being. Therefore, we find the potter's interest in organizing the elements of the formation of mass, space, texture, color and line in a clear aesthetic display system in his dispensing with showing realistic visuals in the composition and coloring and going beyond the usual apparent in the details of these forms, as the ceramic formation has a mass that has the traditions of the classical ceramic style through the sitting position in which this form appears, it has a clear visual presence through its solidity and erectness in the space in which it exists, and it has a traditional dialogue with this space by means of its emptiness of internal spaces except for what the recipient can observe within the limits of the shape of the body dilapidated by old age in the world of reality that restricted it with its laws and beliefs The strict block that the potter formed one above the other to indicate the momentum of restrictions that govern human existence, but it became the ruler and the human being is the ruled, and the artist employs the element of texture to reach the formative realism in the work according to the type of display technique and the material used in this sample, which is the technique of forming with the material of baked clay coated with porcelain in terms of showing the color characteristics used by the artist. The artist excelled in designing and implementing the hand movement for that shape while performing signals that carry meaning to the recipient. This method of contrast gave an aesthetic dimension and creativity in coloring the material in terms of coloring the upper part of the man in pink and part of the feet and barrels in black. All of this gave the achievement a distinction in the beauty of form and technique

Result and Discussion

1- Body language was characterized by a realistic, personalized tendency in dealing with the objective body in terms of the relationship between form and content.

2- Body language carried political, environmental, and economic topics with artistic and aesthetic aspects that addressed local issues.

3- Postmodern features were represented by the reversal of the formal system of the ceramic form and the emergence of somewhat unfamiliar ideas that embody the concept of art, the purpose of which is to search for new values and awareness.

4- Postmodern features showed their manifestations through the repetition of some artistic elements in form, color, and line to generate an illusory visual movement.

5- The samples carried multiple, fragmented, dispersed topics that aspire to reproduce the objective meaning for the recipient

Conclusion

1. Body language in postmodern ceramics involved the recipient in the painting as an active participant and opened up his horizons.

2. The content of body language in the ceramic achievement carried an infinite dimension in permanence and negation through chaos in assembling the subjects.

3. Body language in postmodern ceramics transformed familiar subjects into unfamiliar subjects that try to touch reality through the features of the formal structure of the achievement.

4. The forms of the ceramic product achieved dazzle and escalated the effectiveness of perception above the mental limit and the dominance of cultural discourse, which frees the mind from tribal knowledge and prepares it for integration.

5. The features of body language drew forms that interact with deconstructive, dadaist and chaotic categories in establishing the subjects.

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