Meltem Arslan produces installations, sculptures, and drawings. The repertoire of her technical focus spans from traditional handwork techniques for drawing and sculpting to technoscientific methods for computational modelling and form-making. Concurrently, the process of her artistic depictions can also be operated via interdisciplinary working principles through the course of estimated artistic demands and time while composing two- and three-dimensional portrayals. In a broader sense, the collection of her artistic practices includes life-size sculptures that are either products of bottom-up techniques, such as working series of clay and cast materials (even postprocessed via oil paints) and additive manufacturing, or outcomes of top-down techniques, such as curvatures and drawings that are primarily utilise graphite, watercolour, gouache, acrylic and ink on paper, wood panel, and canvas. Moreover, digital sculpting, jewellery and small sculpture, relief, and mask-forming can be mentioned as sub-titles of her technical expertise. All of the display artists` admire the old masters that are characterised by fresh contemporary interpretations through dedicated anatomical resolutions, abstractions and proportional adjustments along with thematic interplays of figurative hints and their surroundings.
Her work is a reflection on the characteristics of humankind and delves into profound enquiries such as the pursuit of reality by questioning the hidden intricacies that lie underneath the definition of truth and meaning. She investigates the creation of obviously perceptible fiction narrating between evident and substantial exploits that reveal an introspective contemplation inside a suspended, chronological scene, interwoven with overlapping perspectives of selected settings. She focuses on the human body, portraying it authentically along with all of its intrinsic resolutions (referring to both embedded and inherent substitutions) and designable partitions in a way wherein poetic, epic, chaotic, tragicomic, satirical, and science-fictional bases display or fuse in tandem. The depiction of the chosen subject and elevating layers carries an animating play of divine, mastery, and expressive deviations of fragments that are perfectly balanced in a combination of idealisation, realism, imperfection, and customisation through interpreted versatile nuanced details, proportional shifts, deformations, facial expression mining and structuring, and bodily extensions within a single or intertwining account while preparing a scenery testament for coexistence and omnipresence encodings grounded in cultural and technological artefacts and their coeffective embodiments across humans and nature through the lens of historical epochs. It would be recognised that each piece seems to possess a distinctive attribute that narrates a certain facet of life, spanning from daily usuals to both ordinary and extraordinary events. The subjective artistry aligns the external aesthetics of the form with the inner deep philosophical sentiments it embodies. Her animals are performing on the stage of life with the viewers. Simulated reality, in contrast, would be challenging or unattainable to distinguish from what is termed actual or true reality. Even in certain conveyed scenarios, this setup can be accompanied by the flashing viability of prospective cybernetic corporeality for metahuman tales interconnected with merged layers of transition, historical contexts, and cosmic consciousness as it raises created levels and patterns of structured artistry forms that align with metaphoric assignments in a metaphorical world. As an explanatory strategy, the final accomplishment of intentionally overlapping and traversing scenes establishes itself as a frozen moment by employing constructional sites for diffusing flows of time periods that refer to cultural and technological symbols of the linked eras, along with paying tribute to nature. This fusion navigates through the story of contemporary humans by integrating humanity’s correspondent foundational aspects and creations into the ongoing narrative and gradually revealing uphilling psychological resolutions layer by layer, sometimes in a subtle yet remarkable manner, or in other cases this can showcase distinguishably selectable features from the observer’s perceptual spectrum.
These aspects can be supported by variations of animating backdrops that can be reinterpretations of familiar figures, interpretations of silhouettes and forms, depictions of fauna and flora or organically patterned cyberware components that are all naturally interwoven into the acquired composition while bridging contemporary human tales to the milestones of the past, disseminated hyperreal elements, futuristic prospects, cyborgian beings, and posthuman orientation throughout the spatial network of historically connective journeys by also adding referred lineage of collective creations for the purpose of strengthen the overall recitation. At this point, it is crucial to briefly mention that another one of actual consideration for contemporary human as being called already as in the classification of transhuman or cyborg hence taking into account their daily consume habits and experiences including digital tools, electronic devices, processed food, agricultural synthesis, synthetic supplementaries, phases of medical treatments, environmental pollutants, chemical contaminants, mobility vehicles, built environment, along with material composite structures for textile, plastic, industry, technology and vice versa that effectively adjust display contexts and constitutional chains of behavioural, cognitive, neurological, and genomic spectrums. While highlighting the existential coordinates of the human condition by means of in-depth approach in order to capture and achieve unparalleled stages that blends classical mastery with modern methods by retaining varying techniques and selecting mediums with careful attention—closely relative to and in the service of intended portrayals—spanning from in the tradition of craftsmanship to the most innovative draftsmanship converging conventional hand-drawing and three dimensional modelling, moulding, casting and carving methods to industrial manufacturing, various computer-aided technologies including digital sculpting, interactive media and 3D printing in form of figurative chronicles and renderings along with portraiture. The apparent traces of the ultimate visual documentation can be regarded as witnessed diaries, conceptual logbooks, or imaginative realms within their intersecting landscapes that correlatively align with related realistic, symbolic, metaphorical, and meta elements.
If the necessity to transfer experiences into the world of two- and three-dimensional stimulating creativity reflectors arises intuitively as a way of structuring overlapping myths, the interplay between identities and resemblances corresponding to adopted and imposed subjects through multifaceted layers of genres exhibits the tangible manifestation of apparent experiences as both form and process. The phenomenon of this prior foundational idea in accordance with tales of human existence evolves with the content of extracted experiences alongside continuous existential adaptation and transformation scenes in a narratively and diary-oriented manner, besides by conducting attained medium and concealed vision. In the realm of reflecting adaptationist and emancipatory records through the perspective of the transitioning stamps of the intended documentary, that can be explained through attention, sensation, meaning association, and productive transformation in turn, especially when patterns analysed a multidisciplinary background entail enriching expenditure. On the other hand, recorded memoirs showcase stages of human nature and the progressive human condition by empowering humanity’s deepest thoughts, emotional aspects, prospects, visions, and fantasies. These abstract and tangible analogies explain the harmonious regulations of individuals’ self-presentation, performance, mind games, and creation stories while leading to the accomplishment of artistry depictions. In addition, these bespoke interlocking, freshly breathing embodiments research how the classification of what is real, virtual and spiritual can be described in a motional fashion in relation to the sheltering domains of connectedness and togetherness amidst the themes of logical spirit and rational essence from the views of natural, supernatural and technoscientific phenomena for the liberation of phyletic gradualism by continuum across the network of staggering composition.
As a matter of artists` personal interest, the mirrored subject narratives of shared memory and shared heritage are translated over collected inspirational knowledge and visual entities from coevolutionary bits of chain reactions among specimens, biodiversity, anthropomorphology, genomic references, and archaeological sites by means of transferring the traces of historical, cultural, and technological fusions into creative dimensions by employing proper servant materials and techniques that are most viable for transmitting uphilling traversations. Whereas the mapped human existence, with all its elusive functions and limits, inside this newly illustrated multilayered ecosystem streamlines the eternal shift of the transcendental march of the vital sphere in relation to the human body while also questioning the meanings of the beginning, end, and transformation of the things through the patterns of infinity in the line of the concepts of nothingness and eternity or spirit and embodiment. The diffusing reflective array of the wide spectrum, including correspondents of the change, interrogates the boundaries, resolutions, eventual dissolutions, reconstructions, and setups naturally, artificially, physically, mentally, peacefully or conflictually throughout the body and designed landscapes, considering anatomical and daily displays along with their staging performances, enactments, and productions. When it comes to culminating attributed and attained identity specifications along with cyclic affirmations associated with existential myths and accounts, as well as social norms, titles, labels, and etiquettes through canvassed inquiries and manifestations, not only should milieu subjects, in conjunction with national and international identities but also planetary and cosmological orientations linked to the brain, mind, consciousness, energy, and vibration leverages ought to be carried to the aspirational frameworks. In order to elucidate opened transactions of an individual`s diary during their lifetime via this composition, the layers of sketched substrates can be filled through timely combinations of iconic, allegorical, symbolic, and metaphorical characterisations.
Her simulated, fictitious, and genuine animals interrogate the notions of identity, nationality, gender, genetics, and flux. This is done by configuring intended preferences over the portrayed stimulating effects that are representations of imposed and adopted societal roles aligning with remnants of past and futuristic worldview aspirations. If the necessity of opening an additional instructive parenthesis arises for elucidating the chapters of human life contingent upon historical epochs amidst loops of evolutionary peaks and paradoxical occurrences that are merely inseparable from historiographical views, the term of flux should be inspected in a wider sense. In general, the term “flux” refers to the flow of things (progression and motion), human flux (migration), and personal flux (mental and behavioural), all of which are induced by the causalities of one another within the clustered, adjacent, and holistic multiverses of the cosmic order. The renderings of existential coordinates and conditional adjustments, trajectories of mobility, representative actings, thoughts, decisions, and memories showcase directedly interdependent, and cooperative experiences and shifts in continual flux that are endlessly retracing themselves inherently and coevolutionary. More specifically, the continuous bilateral connection between the flux of human experience and human experience as flux, process, and change can be understood via the interplay between various meaning-carrier features of the deemed phrases that anticipate evident resemblances and promising triggering powers in the real world in the quest for natural, directed, and participant incidents, treatments, and mutations, including the concepts of human enhancement and genetic enhancement. The scaffold of ebb and flow serves as a metaphorical process; thus, it represents a migration from the present toward the future while simultaneously attempting to make sense of the past through the synthesis of reinterpretation, meaning assignment, incorporation and assimilation. One would have to be concerned about engaging with this movement and potentially being swept away by it and thereby striving to balance attachment-detachment acts—possibly in the cases of exceptional situations along with distance and time perception deformity (distorted space impression)—while concurrently binding the previous and contemporaneous gains repeatedly.
All those are stringently, and string-bondingly interconnected to the mediation of metabolic migration and psyche amidst surrounding stimuli, drawn patterns of relational internal and external correlations alongside transfers among them, as well as sensory and cognitive reactions for leisurely pace beyond individual accounts. The reflection of collective consciousness while employing the human body as the leading actor, medium, and research media within acquired scenes, requires a monumental approach that can successfully cultivate synthetic, imaginary, real-life elements by embracing the duality of life and existence rooted in the cycles of monism. In the pursuit of captivating, acceptably or seamlessly blurring fusion through the nature of tangible reality versus abstraction and the interplay between reality, unreality, illusion, delusion, absurdity, future prospects, and the surreal, the pathways of the visual journey preserve the multifaceted layers of carefully transposed techniques along with disseminating fragments of extensive knowledge of art history and contemporary artistry. Even so, the variations of supporting actors across created compositions, can encompass narratives and appearances from nature, such as allusions to metamorphosis and mimicry configurations, as well as either direct or reinterpreted adoptions from historical and archaeological contexts. The animals, all together, that comprise the main characters, supporting creatures and elements, reflected chronicles and applied composition principles in line with art history, modern methods and personal artistic improvisations constitute a stage while arguing affiliations centralised around relationships and the demarcation between past, present, and future corresponding to civilisations, culture, technoscientific advances, and our planet. Furthermore, additional enquiries arise regarding the states of being in or shown with apparent anatomical features, partially or completely covered or redesigned through various interplay across the human body by setting the properties of nude partitions and anatomical and skin extensions, as well as wearable and implantable matters while re-debating the meanings, their assigned origins, and reasonings of labelling, categorising, ethnicity, race, and gender, along with national and international positions on the earth during the process of related pattern depictions.
Since human experience is an ever-repeating and -evolving flow that has an intimate connection to metaphor itself as linguistic content and meaning games along with the coevolutionary process. This commentary language, together with parameters and matrices of the accompanying processes, transcends through eternal progression and a workbench consisting of construction, destruction, reproduction, and transformation acts. Accordingly, each and every event, as well as their descriptions, can be identified as one-of-a-kind circumstances characterised by case-specific dynamics that bring together certain matters, simulation mosaics, and stimuli inducers at a single moment or during a time slot. That’s why the involved experience, alongside its elements, reflections, and results, cannot be directly translated or paraphrased by means of a definitive literaturistic network, yet it does maintain individuality on a perception and explanation basis. With regard to pherein, which refers to the interconnectedness of experiences and metaphorical fundamentals to the art world, the creative initiative and instinct should be able to estimate the flowy shifts of propagated art worlds, activities and feelings of the animals and things while up-hilling and putting together a composition layer by layer, regardless of whether it is portraiture, figurative bindings, substitutions of vegetation, bionic items or refurbishment make-ups. The expression of participation and change successfully, across and beyond meta and corporeality adaptations for man and his universe, requires various intricate manoeuvres and lively metaphorical assignments in harmony with orchestral symphony during interweaving threads of the installative tapestry. In real life, this paradoxical tale can be understood in a way that considers metaphor itself as an independent figure and words, multiverses, the world, and cosmos as other figures aligning with metaphoric tessellations. Whereas the conception of these figures has simply been repeated themselves in each succeeding generation, in addition to being negotiated by them. The adhering frameworks of coexistence in accordance with gradualism and evolution subjects give rise to and establish analogies through bilateral transfer relations among genus, species, metaphors, and attributed names or terms, as well as within each deemed notion itself that are all affected by deviations of proportional sensitivities, threshold gaps, and interferences.
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In addition, preparation and research facilities of architectural drawings in the scope of microscopic fine details, architectural envelopes, cabinets, and pavilions, as well as bird’s-eye perspective urban networks through hand sketches and computer-driven techniques, pertain to meticulous attention; that progression ranges encompass fine-tuned formulated analogies, experimental processes, and iterative cycles by means of pattern generations, biomimetic adaptations, design-to-life cycle management procedures, expanding inventional approaches for the intertwining interfaces of creative and hybrid systems, writing scientific articles, and sustainability operation. In general, the purpose of orientated multidisciplinary working principles is to configure engineered artistic and creative forms along with illustrating linked research papers as an extension of personal interests and technical expertise. This admiration has been comprehended by the studies that have been conducted on information technologies, computational design, digital design processes, industrial design, robotics, and museality—considering the represented notion as a set of cabinet of curiosities (wunderkammer) in line with both historical and contemporary contexts comprising physical to digital assets relative to replication of natural, artificial, and digitised holistic worlds. To fuse artistic vision with technoscientific foundations truly and on grounded cores, solid knowledge and continuous inquiry retrieval capabilities over conventional methods, material science, computer science, art and other creative fields (design, architecture, new media, etc.), various engineering and biomedical fields, neural networks, morphological analysis, and morphic interpretation methods are uncompromisable requirements.
By taking advantage of being an experienced engineer on immense subjects aligning with strong management skills and possessing a high-level affinity for scientific and technical topics, she adeptly navigates concepts; generative, parametric, and design solutions, computer art contents (visualisation patterns, audiovisual environments, composition of generic melodies, and animation), and computer-aided industrial manufacturing methods such as 3D printing that span from free-form to concrete models across immaterial and material worlds by the supportive power of computer vision, digital image processing, programming, and material science backgrounds. Besides, the fact that being a trained artist with strong traditional know-how who follows the path of mastery exemplars, she achieves full competency through the interplay of artistry, virtuosity, and design features as well as governmental, technical, and scientific professionalism. The discipline of constructing the broad scale of creation and research projects one on another, from expressive to precise embodiments that make it possible to integrate those deemed omnidirectional fields to each other over the course of time by strengthening knowledge and being keen on building the bricks and blocks of the spectroarray of subjects, is acquired and systematically nurtured from early childhood into adulthood. A further motivating locomotive for the working processes is learning by doing, starting from scratch and focusing on each finest detail until reaching a convincing result. The active engagements of the inner curiosity department promote the formation of personal libraries and sensory elements of knowledge, memories, experiences, and consciousness, all driven by a passion for combining hybridised compositions. Accordingly, the underpinning quotations of being enjoyed and love for the progression across the interfaces of do-it-yourself and collaborative efforts display themselves through multifaceted enriching results not only for the product itself but also for the contributors (creators and audiences) themselves. Thereby, the accomplished figures openly reveal enthusiasm for the process itself, both on a technical and content basis. Furthermore, the all-embracing concept of art incorporates an infinite number of aesthetic and cultural references by exploiting scenic variations of theatrical, allegorical, mythological, and contemporary elements from ancient civilisations to advanced civilisations and from historical periods to the emergence of genres.
As an engineer, scientist, designer, and artist, one of her major purposes is to focus on interdisciplinary working fields where art and science meet, characterised by both traditional and the most innovative technologies that are converging the subsets of handwork methodologies, manufacturing, material science, lightweighting solutions, additive manufacturing, computational creation, information technologies, electronics and telecommunication, robotics, human-computer interaction (HCI), digital humanities, living machines, and biomimetic and biohybrid systems while searching for solutions through state-of-the-art mind orientation. Throughout the stages of productivity, literacy holds significant importance in the vicinity. First, let’s have a concise overview of the notable accomplishments that were attained by both independent and hybrid projects in chronological order. From student life to becoming a professional in the challenging path of engineering, a range of projects has been led; including RF and network planning, product validation for packet trunking on internet protocols and gateways, as well as provisioning and interconnection components ownership within a GSM network, all in teamwork with numerous clients and vendors worldwide. Besides, specialised training sessions dealing with advertising, presentation methods, and strategic thinking have been collected. At the same period, she pursued her aspiration for arts and design by attending particular courses and workshops focused on academic drawing, jewellery design and illustration, marbling ateliers and handmade craft techniques, reverse glass painting, modern dance, and percussion workshops for Latin “bongo” and Turkish “bendir” style instruments. Then, her endeavours as an art student commenced with an unwavering dedication on drawing, sculpting, form making, and design in several techniques. These entailed classical handwork techniques, moulding techniques, plastics manufacturing, computational design, and 3D printing. Additionally, a specific interest in materiality has culminated to visits to courses in lightweight engineering and polymer technology.
Having an enduring fascination in the form of masks in each scale and different material arrangements, whose various motives span from productions of primitives and ancient civilisations to modern humans for religious and mythical explanatory purposes, any other important rituals, ceremonies, and festivals, and so-called status quo representations as attachable-detachable and wearable transitioning carriages of temporary or permanent symbolic references to those attributed to them, gave rise to the creation of artistic objects that come into shape in the form of brooches, wood carvings, papier-mâché, etc. The configured accessories and design patterns that are showcased through provided historical, cultural, and locational journeys pinpoint meant citations as a result of in the name of being acted or narrating versions of gods and goddesses, natural phenomena, and traditionally held beliefs or solely for the sake of entertainment and family unifications, often symbolically expressing the characteristic or prevalent attitudes in a group or culture.
Technological adoptions can be part of projects to meet the projects’ additional requirements, like designing applications and interfaces, creating immersive experiences (virtual reality (VR), mixed reality (MR), and so on) for particular installations, and presenting phygital outcomes (physical + digital) for NFT arrangements. In general, art management and project development features serve as indispensable factors during the entire progression.
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As a result of a particular interest in the topics that pertain to digital humanities, particularly the preservation of digital heritage and the reutilization of this data for the purpose of enhancing efficiency and experiences, and in particular with regard to addressing the issues that are associated with museums, a paper has been prepared and given the title “Digital Twin Connects Art and Technology in Museums.” The examination of the ‘digital twin,’ which is a broader concept bridging the gap between the physical and the digital realms, has been done in relation to Industry 4.0, 5G, the Internet of Things (IoT), Building Information Modelling (BIM), AI, ML, the overall contents of museums and digitalisation, all aspects of novel visualisation solutions for data preservation and monitoring, along with presentation techniques of items for audiences, such as immersive experiences (VR, AR, MR, XR, etc.) and data analytics. Within the scope of this article, the initial results of an ongoing research project that aims to develop a real-time (both exact measurements and stored data compatible with the creation of generic variations) and digital twin-based approach for the organisation and administration of the information required for the maintenance and safety evaluation of museums are discussed. In comparison to other types of structures, museums are distinguished by several special characteristics, one of which is the question of the link between the building itself and the artworks that are housed inside it. While rethinking museums for the digital age, including with predictive scenarios, the contexts of the digital twin offer a broad band of presented services and optimal interoperability. These encompass making collections accessible online, providing visitors with amazing digital experiences, encouraging their involvement, and sustaining the durable creation of digital infrastructures and collections. When it comes to digital sustainability by means of the sustainability of software and services, there are many different characteristics that contribute to sustainability. Some of these features include extensibility, interoperability, maintainability, portability, usability, reusability, and scalability. As a result, it is necessary to not restrict the focus to the structure alone but rather to consider the existence of art collections inside the digital twin. While building a digital avatar of an art object and compiling relevant information (both scripted and visual data), several aspects ought to be estimated, including current and potential applications for artefacts, digital letters of authenticity, and methods for converting art objects into digital assets via blockchain technology, along with crowdfunding platforms and marketplaces. These obtained data structures advocate as well for creating omni experiences across museums and reinterpretation of generative images. In addition, considering regulatory rules of human-computer interaction (HCI) in museums on an interface and locational tangibility basis are other unprecedented topics. Hence, the museums shelter all together various staffs, colleagues and art collections while also existing as constituted architectural infrastructures; specific on-hand BIM models, such as M-BIM (museum management through BIM) and HBIM (embedding historic data through BIM), are also discussed. Broadly, the benefits of digitisation and documentation for the museums are explained in related to democratisation effects in global context. Finally, the entire scope is filtered through the lenses of benefits and risk reports.
A project, headed “The `Collaborative Social Robot` and the `Telepresence Avatar Robot` are merged into a single robot,” has been drafted as a matter of social responsibility and a means to ease daily living. Therefore, the concepts of design and content have been clearly outlined. A novel technological advancement has been made possible through the combination of Collaborative Social Robots and Telepresence Avatars, providing a wide range of functionalities in addition to state-of-the-art design and exceptional craftsmanship. During the initial phase of the endeavour, these mechanised entities will function as Telepresence Avatars, thus addressing the deficiency in educational settings, corporate assemblies, and meetings. These technological advancements demonstrate a commitment to enhancing remote-controlled immersive experiences, allowing users to participate remotely in panels, classrooms, business gatherings, meetings, and round-table discussions through instantaneous transmission of users’ faces on the sleeky shaped facial screen of the robotic solution. This technology enables remote operators to execute actions in real-time through the utilisation of robotics that are equipped with intuitive interfaces. There will be two distinct modes of operation accessible in the future. The Collaborative Social Robot will be customised to the infrastructure of Telepresence Avatar Robot. The Collaborative Social Robot will not only serve as customer service assistants and corporate educators in hotels, museums, panels, events, and exhibitions, but will also be capable of performing secretarial duties. Collaborative Social Robots employ an enhanced immersive display experience featuring animated lips and eyes. These robots are capable of communicating with individuals via a facial recognition system by conveying expressions, emotions, facial mimics and gestures. The ultimate objective is to provide assistance by deploying a variety of recent technologies, including telecommunications (5G, 6G), IoT, cloud computing, AI, ML, and LLMs (Large Language Models).
The “Adaptive Unit” is yet another ambitious project that has been illustrated, combining an architectural pavilion or cabinet with biomimetic and biohybrid systems, all supported by customised, high-tech diffusion. In planning the design phases of this architectural metabolic jungle, a multifaceted encirclement system was intended to be created. The initial idea has come to light with particular form sketches that incorporate biotic elements from both the animal and plant kingdoms alongside anatomical materials originating from humans. During the integration of biological and artificial systems, the concepts of biomimicry are synthesised with living machines, biotechnology, synthetic biology, nanotechnology, neural networks, AI, and ML, along with bio-inspired and biohybrid systems linked to sophisticated solutions of material composites, structures, design elements, components, electronics, and robotics. The approach of infrastructural determinism that is conveyed through designed cyber and nano ecologies formed by the hybridisation of biotic and bionic multiverses operates and develops versatile models of neuromorphic computing and morphological computation. Thereby, holistic embodiment of technoscientific envelopes and pathways among them sustains and interacts with variations of interoceptive, proprioceptive, and exteroceptive mediations by the flowy reactions of bio-, chemical-, electro-, mechano-, sensory-, photo-, and radio-active matters. The bricks and blocks of contemplation are maintained through high levels of adaptability and coevolution within coordinated contexts of post-structuralism, neo-materialism, and meta-consciousness. Meanwhile, smart composites, which include regenerative materials with self-assembly, self-memory, self-sustaining, and self-repair features, as well as intelligent and programmable topologies and morphogenic structures, coexist and cooperate. Additionally, the entire clustered framework incorporates various modularity and injection mechanisms along with energy-wise patterns. As the consequences of continuous biomanufacturing (Industry 5.0), subsequently referred to next-generation manufacturing, the definition, shape, and materiality of mechanics and circuitry systems are transforming and have already begun to replace some conventional models. The particular components of these unfamiliar gearboxes are prepared via 3D- and 4D-printing techniques alongside retaining petri dishes and bioinks. Within the metabolic ecosystem of whole encirclement structures, the integrated biomimetic robotic systems span from hard-surface bio- and soft-robotics to nanobots. The collaborative efforts of sensory and locomotion activities are directed by artificial neural networks (ANN), synthetic nervous systems (SNN), and motor control networks over distributed consciousness among synthetic consciousness and nodes of the core through interplay between biological underpinnings for survival strategies, enhancement uplifts and logical gating principles. Biomimetic computers, also known as neuromimetic emulations, replicate the physiological foundation of intelligent behaviour. The organisations of elements and networks of neurorobotics, neuromechanics, and neuromimetic structures are reinforced through multilayered customisation scenarios on cellular, molecular, nano, atomic, subatomic, and quantum levels via the implementation of various bottom-up, top-down, transfer, implant, transition, encoding, and decoding actions. The beared, empowered, updated, and powered scaffold of rational essence, stimuli, and simulation for each variation in the line of developmental monism, which includes biohybrid patterns of cybernetic elements and morphic technospecies, creates executable shifts on blueprints of genetic and topological properties from fragments to lab-made organelles. Accordingly, the rhythms and harmony of oscillating occurrences of sensation and actuation in accordance with temporal and permanent relations among episodic, semantic, and spatial memories, are inspected and developed through the lenses of metabolic examination, physiological factors, and phyletic gradualism. When it comes to the appearance of the adaptive unit as an architectural pavilion under the influence of interactions between experimentation and concrete regulations, the display arrangements take into account aesthetic inquiries while considering a well-thought equilibrium of functionality and artistic features—amidst boundary layers between them—of designed components along with their technical specifications and sculpted and hued domains. This is done also by estimating interacting psychoactive effects over in-house substances and principles of neuroaesthetics concerning neurological network effects on humans. In parallel, related subsets of the project, social inquiries, bioethics, and technoethics are included in the scope. Moreover, while in-depth analysing of genetic engineering, the concepts of human enhancement and genetic enhancement are also included in the index. Then, this is associated with a posthuman future (this refers humans and their surroundings), where human specifications are classified in this way by assessing the convergence of behavioural features and cyborg sections.
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In line with the adaptationist and intelligence amplification project series, upon the completion of the adaptive unit, the conceptual design and hypothesis for sophisticated components for autonomous systems that exhibit anatomical mimicry, embedding a mixture of flexor and rigid mechanisms along with lightweight structural solutions such as androids, humanoids, and animal robots are on the agenda. On the other hand, whatever the lead or intended project content and methods are—whether they are creative, technical, interdisciplinary, craftsmanship-demanding, digitised, research-based, or necessitating laboratory and manufacturing settings—fully dedicated meticulous project management combined with a sensitive approach of a founder and entrepreneur who sees the whole picture from the beginning yet remaining detail-orientated for each step, by estimating delicate balance, is always on the table. In addition, special projects or series aligning with personal interests, which may be theme-specific, with reference to a particular genre, or conceptual configurations, along with their chosen technical settings, are being passionately pursued.
As an example, “Masks and Demons,” a brand that is specialised in brooches as wearable sculptural forms of jewellery art reflecting geographical and historical dimensions of referred role models with timeless aesthetics and novel interpretations, has been founded. The inspired materials primarily consist of mask representations from various civilisations, architectural elements, and sculptures found on monumental buildings. These low and high reliefs or carvings take place on interior structures and facades of envelopes while ornamenting them in forms of gargoyle statues, hunky punks, bosses (decorative knobs on a ceiling, wall, or sculpture), chimaeras, fantastical animals or monsters, mythical figures, evil or divine symbolisms, grotesque figures, and hybrids of different mythical, human, and animalistic features, which can be seen occasionally across churches, monasteries, and important architectural heritages. However, completely new and fresh ideas may also be brought to life.
Moreover, poetry and poetic explanations as a poem lover and poet are thrived in personal scope, converging instances of lyrical art from verbal to written, anonymous, and attributed ones to the possession of poets and communal groups; inscription games illustrated as cuneiform on stone tablets, hieroglyphs on papyrus; tough interwoven divan compositions to contemporary forms, in other words, through the atlas by assistance of time journey. The presented subjects in conjunction with cultural and geographical diversities that have been brought about by literacy regulations, are the most effective tools for comprehending the human condition, human nature and what it means to be human in planetary settings with all of their intricacies, simplicity, merely pure states, unfiltered reflections and emotions. By continuum, during the phases of writing, the interplay of mathematical, melodical and literalistic rules or searching for free-forms, which all shed light on an open door for delivering fast personal state changes or transitioning into a better self and more serene self by emergent procurement effects of deep analysis, aids in looking into one’s self over the stories of self, others or environmental factors by using various explanatory themes such as nature, love, support, psychological resolutions, and science, which are among numerous beneficiaries.
The books; libraries (public, universities, research institutes, museums, culture and history foundations, governmental bodies, private initiatives, regional structures, and religious organisations); library and information science; museums; and museology, including their digitised and immersive resources, take enormous importance not only as an applier but also with supported held belief content for everyone and everywhere through democratic share platforms that present wide-ranging reachability protocols and norms beyond the borders. Such subjects are strongly emphasised in the context of social responsibility. By taking into account the coevolution regulation basis for national and international development in line with sustainable development goals, it is crucial to guarantee continuous learning and research facilities for potential settings of presence, telepresence, and internet users (the increase in user numbers must be validated through the course of time). In the realm of deemed open data (which is compatible with real-time or rapid data submission, verification, and publication), enriching visualisation experiences (2D, 3D, and interactive media along with potential VR solutions for home users) must be provided while ensuring equitable and inclusive education and working conditions for all that is essential to empower future generations.
The other most celebrated examination fields are codices and manuscripts with illustrations, art history, myths, literature, psychology, theology, anatomy, botany, and kingdoms of plants and animals. Special interest can be given to the behavioural patterns and coevolutionary trajectories of collective organisations and national groups, which can be added to the related list. Mathematical conjectures, research on geometrical patterns, and physics—especially particle and quantum physics—are other areas of motivation. Typically, keeping pace with scientific and technological breakthroughs along with creative fields, always being up to date, and combining gathered diverse interdisciplinary viewpoints for one’s own works are all activities that take place within the context of personal goals. Accordingly, the culture of startups driven by curiosity might be mentioned as a continual engagement of greater ambition.
The opinions cover a wide range of topics, including but not limited to the following: law, international law, political science, ethics, human rights, women’s rights and the empowerment of women, cybersecurity, the ability to maintain a resilient position in turbulent times, and trauma and the post-handling strategies for experiencing it. Within the realm of commonly held beliefs, these issues need to be examined by questioning and comprehending the link and significance that exists between one’s individual, national, and worldwide ties to the planet via a variety of engagements that correlate to the enhancement of awareness and responsibility. In order to support the belief that extensive dealings of those that are considered to be worries of mankind are a personal obligation for each and every global citizen for a period of time, most likely for at least five to six years throughout their lifetime, it is essential to define one’s own position and guards.
On the way to a desirable balance of nature, modern life, and a postmodern future, as much as it can be possible and efficient for each within the circumstances of a tackled lifestyle through living in organically shaped surroundings and the existential need of being in touch with nature, preservation and well-management of natural sources and environmental factors, along with benefiting from technoscientific advancements, display different tailorable and combinational settings for mankind. That’s why the spirit of the time (Zeitgeist) necessitates a concentration on the potentials of natural resources and earth minerals, not only for the welfare of humanity but also because of their critical roles for smart, memory composites for biomanufacturing, energy-wise solutions, various components, sustainability loops, and material cycle management. In light of these factors, the knowledge acquired from the natural material world is integrated into the hybrid systems, as well as an attitude towards one’s own life approach to life administration.
By being aware of what you insert into your body (considering aspects like cellular health; feeding mechanisms, medications, and genetic agents) and put on your skin, and moreover, how and what you consume on a daily basis, including digital interfaces and brain activity inducers contingent upon impact on quality of life, intelligence levers, and both physical and mental health conditions in terms of relationships of input and output correlations that encompass frameworks of biochemical, neurological, cognitive, and sensory reactions, being adapted to a natural lifestyle through particular habits has been endured. Aligning this mindset has led to an attentive selection of food and cosmetic materials, which has influenced the production of a personal cosmetics line and incorporation of culinary features. This attitude has been supported by cooking practices while also searching for universally appealing flavours with tailored blends rooted in the foundational traditional norms of global cuisine. Besides remaining active through a variety of sport types, dance and rhythmic gymnastics are also included in the routines. In addition to having good skills in pilates, volleyball, swimming, and hula hoop gymnastics, modern and oriental dancing are other significant personal capabilities.