Logo design forThe 20th Youth Salon by artist George Fikry
THE AIM AND THEB THEME : THE FREEDOM OF ABSOLUTE CREATIVITY.
Logo design forThe 20th Youth Salon by artist George Fikry
FORMING NEW CULTURAL AND INTELLECTUAL ARTISTIC VISIONS THROUGH SEARCHING IN THE EGYPTIAN CULTURAL SOCIAL CHANGING, HOWEVER, THESE VIEWS HAVE ABSOLUTE AND COMPLETE FREEDOM TO FORM SCENES, SUBJECTS, STRUCTURAL, SOLID FORMATIONS AND DIGITAL PICTURES BY PROVISIONS OF NEWCULTURE ACCOMPANIED BY THESE VIEWS.
COMPLEXES : INTERACTION OF THE NEW VISUAL CULTURE.
THE ENTERIES OF CULTURAL AND SOCIAL CONVERSATION OF THE CREATIVITY PROCESS CONSIST OF STIMULATION OF ARTIST CULTURAL AND CREATIVITY ENERGY AND OFFERING THE ESSENTIAL COMPONENTS TO FORM THE INTELLECTUALAND METHODICAL SYSTEM TO ENTER THE CREATIVE EXPERIMENT AND DURING THE VISUAL VIEW OR ABSTRACT EXAMPLE OF PIO-OT ENTRANCES IN THE CREATIVE PROJECT. HE USES THE ORGANIZED STEPS TO ANALYSE : SYMBOL, SHAPES, FINE AND ARTISTIC ELEMENTS TO TRANSFERE THE ABSTRACT THEME TO SENSITIVE AND VISUAL EQUIVALENT WHICH MUST HARMONIOUS WITH EXISTING THEMES, SUBJECTECTIVE AND THESRITICAL VISIONS. THE SOURCES OF THESE VIEWS DURING THE IN HERITED IDEAS WHICH ARE TRANSFERRED FROM GENERATION TO ANOTHER.
THESE THOUGHTS ARE AFFECTED BY CHANGE AND RENEWING ACCORDING TO THE CHANGE NATURE OF ART. ALSO, THE ARTISTIC EXPERLENCE WHICH IS RESULT TO PRACTICING AND ACHIEVING POSITIVE AND NEGATIVE RESULTS AND USING THE SCIENTIFIC METHOD TO ACHIEVE THE VISIONAL EXAMPLE FOR THESRETICALENTRNCES AND THROUGH SETTING : GOALS, ASSUMES, THESRETICAL AND FRAMES ACCOMPANIED BY CHANGES AND CHOICE OF ENTRANCES WHICH ACHIEVING THE SUCCESS IDEA OF FACTS RELATION DIMENSIONS. THE CULTURAL AND SOCIAL PERSPECTIVES DRIVED FROM THE GROUP OF IDEAS AND THE LOGIC ORGANIZED SUBJECTS, HOWEVER, THE CULTURE WITH ITS COMPREHENSIVE CONCEPET . THE CHANGE IS THE ARTIST CONTINUOUS SEARCHING FOR THE WAYS OF HIS ENTRANCE TO THE CREATIVE EXPERIMENT AND THE PROVISION OF HIS RISING IS HIS REALIZATION TO THE COMPONENTS OF HIS MOBILIZING ENERGY WHICH IS ” CULTURE”, HOWEVER, IT CONTAINS GENERAL CHARACTERISTICS, FUNCTIONS, SEVERAL STYLE AND CONECTING INTERPRETIONAL THESRIES IMPROVE THE THOUGHT, PHILOSOPHY AND THEORY OF THE ARTIST, HOWEVER THE RELATION BETWEEN ” THE CULTURAL AND SOCIAL SYSTEM” DURING THE SOCIAL THESRY WHICH DEPENDS ON THE SOCIETY AS AMAIN BASE OF ART. THE ART ISN,T ONLY SOLO PRODUCTION BUT ALSO A GROUP ONE, THE ACTIVITY OF SOCIETY OR WHAT,S CALLED “GROUP CULTURAL” FOR ALL THINGS, THOUGHTS, ACKNOWLEDGES, MORAL SYSTEMS, TRADITIONS, VALUES AND DIRECTIONS WHICH ARE TRANSFERRED FROM GENERATION TO ANOTHER. CULTURE IS EVERY CONSTRUCTION INCLUDING KNOWLEDGE, THOUGHTS, ARTS, MORAL LAW AND CUSTOMS. OTHERWISE ABILITIES OR HUMAN ACQUISITIED TRADITIONS AS HE IS A MEMBER IN SOCIETY ” NABIL AL HUSSIENY 1981 : 268″ SOCIETY IS THE MAIN AXE WHICH ROUNDED BY SYSTEMS AND THE MAIN COMPONENTS OF INDIVIDUALS INTERACTION WITH THEIR ENVIRONMENT. IT’S THE GENERAL FRAME WHICH DETERMINES THE RELATIONS BETWEEN HUMANS WHO LIVE IN IT, SUCH AS UNITS OR GROUPS” MAHMOUD AL BASYONY 1960:112″ WHENEVER THE ARTIST STARTS TO SET THE CREATIVE AND MAIN ENTRANCES OF THE ARTISTIC WORK COMPONENTS, HE SETS AND DETERMINING THE MOBILIZED STIMULATIONS OF CURRICULUM STEPS OF PRACTICAL APPLYING AND THROUGH THEORETICAL WAYS, HOWEVER THE CULTURE IS UNCONSCIOUS PROCESS PLAYING A BIG ROLE TO SET THE BASE WHICH RISING BY UNDETERMINED FACTORS. THE RATIONAL ARTIST IS A WAY REFLECTING THESE CULTURAL VALUES AND EFFECTING HIS ARTICLES, THOUGHTFUL, EMOTIONAL AND SOCIAL DIRECTIONS, WILL REFLECT WITH NO DOUBT HIS PRODUCTION ” TALCALL PARSONS, 1959:5-6″ CULTURE HAS MEANING WHICH IS EVERY COMPLEX CONSISTING OF MAIN UNITS SUCH AS : THE REALIZED SIDES INCLUDING THE KNOWLEDGE, STSRTING FROM BELIEFS TO TECHNOLOGY SUCH AS THE PHYSICAL SIDES, ARTICLES, ENGINES AND VEHICLES…ETC. WHICH ARE USED IN FORMING, CHANGING ENVIRONMENT AND DEVIATIONAL SIDES WHICH INCLUDE THE RULE WHICH ORGANIZE THE MANNER INCLUDING VALUES OR THE ABSTRACT FINAL THOUGHTS AROUND WHAT IS WRIGHT AND FALSE. THE THEORETICAL SYSTEM SETS THE IMAGINATIVE EXAMPLE OR THE VISUAL PERSPECTIVE AS A FRAME OF CULTURAL AND SOCIAL INTERACTION DURING ” THE THEORY “AS A MAIN CONCEPTION OF CONVERSATION AND SETTING THE ENTRANCES, HOWEVER, THE THEORY INCLUDES THOUGHTS AND LOGIC ORGANIZED SUBJECTS. SEVERAL IMAGINATIVE EXAMPLES TRY TO INTERPRET GROUP OF SOCIAL CULTURAL FACTS. EVERY THEORY INCLUDES SPECIAL WAY TO SEE THE SOCIAL FACT AND DURING PRACTICING THE TYPES OF SOCIAL MANNERS OR THE TERM ” STRUCTURAL FUNCTIONAL “.IN OTHER MEANING THE CONSTRUCTION IS FUNCTION. FUNCTION IS A SERIES OF CHANGEABLE CONSTRUCTIONS, EVEN THOUGH THE VISIBLE FUNCTIONS HAVE A ROLE EQUAL INHERENT FUNCTIONS IN DETERMINING THE SOCIAL AND CULTURAL ACCEPTANCE OF RISING UP.THE MAIN TRIALS OF ENTRANCES AND CREATIVE COMPONENTS ARE DETERMINED IN THE ARTISTIC EXPERIMENT OF ARTIST, HOWEVER, HIS REALIZATION TO THE ESSENTIAL CONCEPTS OF THE EXPERIMENT ACTIVITY AND REALIZATION OF THE VALUE OF THE THEORETICAL PERSPECTIVE IN PRACTICING APPLYING AND PROCEDURAL OF ARTISTIC WORK.
COMPLEX 2 : CREATIVE AND CRITICAL CONVERSATION
THE CREATIVE AND CRITICAL CONVERSATION OF THE NEW PIONEER IN THE CONTEMPORARY EGYPTIAN ART TAKES THE WAY OF PUSHING, FOLLOWING UP, ACCOMPANYING AND RENEWING OF EXECUTIVE, IMAGINATIVE, TECHNIQUAL AND EXPERIMENTAL PERFORMANCE IN ITS ARTISTIC WORKS IN THE FINE ARTISTIC MOVEMENT. PIONEER ARTISTS USED TO DEFINE THE ARTISTS CHARACTERISTIC WHO PRACTICED DOGMATISM WITH THE CLASS AESTHETIC SYSTEM. THEY AIM TO SEARCH FOR NEW AND UNTRADITIONAL SHAPES, ALSO SEARCHING FOR COMPREHENSIVE ART TO DETERMINE THE RELATION BETWEEN ART AND DAILY LIFE IN THIS MECHANIC AGE. THIS SEARCH IS A MOBILIZATION FOR STATIC AND CHANGEABLE ENTRANCES.
IT PROVIDES NEW PRINCIPLES OF CONTEMPORARY EGYPTIAN ART. “ART – NO ART” DIRECTION BECOMES SOMETIMES THE ONLY WAY TO REACH A WORK TRANSFERRING THE MATERIAL MOREOVER THE SHAPE. TATLIN SAID : THE MATERIAL CULTURE AND TECHNIQUES IS THE WAY TO CONSTRUCT A REAL PIONEER “AFIFY AL BAHNASY 1977 : 75” AND DURING THE TRANSFERENCE OF ARTISTIC FIELDS TO A GOAL FOR MAKING SKILL “NET AND DIGITAL TREATMENT”. ON THE LIGHT OF WHATEVER APPEARS OF ABILITIES AND DIFFERENT MEDIAS OF SYSTEMS, BODIES AND NEW INFORMATIONAL MEDIAS.
THE SPEED NESS OF BROADCASTING THE INFORMATION AND ELECTISNIC FILES THROUGH LINES AND ISDN NETS IN CONTINUES AND SPEED CHANGE IN THE DIGITAL SIDE INSTEAD OF THE USUAL SIGNAL SCENE OF ART. THE CONNECTION, TRANSFERENCE AND EXPRESSION ABOUT THE MAN, CULTURAL, AND SOCIAL EXISTENCE THROUGH THE SEVERAL MEDIUMS.
THE ACTIVITIES OF EXHIBITIONS, CULTURAL AND INTERNATIONAL FORUMS OF SOME NEW PIONEER ARTISTS ARE EXAMPLES TO TRANSFERENCE AND CONVERSATION, IN WHICH WE SEE SOMEBODY OF THEM DURING SEARCH ENGINES IN INTERNET. THESE ENGINES ILLUSTRATE DIFFERENT CULTURAL AND ARTISTIC ACTIVITIES OF SOME COUNTRIES ESPECIALLY, IN SOME EUROPEAN COUNTRIES. THESE FOUNDATIONS SET “THE THEME”, “EXAMPLE” OR “IMAGINATIVE CONCEPTION” OF “ORGANIZATION COMPOSITION”, EXHIBITING AND CHOICE OF KUORATOUZ” WHICH CHOOSES THE ARTISTS, NOMINATING THEM AND EXHIBITING THEIR WORKS THROUGH “PROVISIONS, AND DECLARED EXAMPLES” BY THE FOUNDATION OF ORGANIZING THE BIENNALE, THE CULTURAL FORUM OF GROUP EXHIBITIONS, WAS THE CAUSE THE ACTIVITIES OF SOME SPECIAL EXPERIMENTS IN CONTEMPORARY EGYPTIAN PIONEER ARTISTS WHO WERE CHOSEN BY SOME OF THESE FOUNDATION DURING THE INTELLECTUAL AND CULTURAL STATISTICS. HE USES THE WAY OF “VARIABLE – CHANGEABLE” IN THE CULTURAL MOBILIZATION, EVEN THOUGH IN CHOOSING ARTISTS BY SEARCHING FOR THOSE WHO HAVEN’T HISTORY, UNKNOWN HISTORY OF FOR ALONG TIME THEY DIDN’T PRACTICE ART”. THIS IS ONE OF THE PROVISIONS IF FIDON FOUNDATION WHICH SETS A DEFINITION TO THE NEW ARTISTS WHICH IS CREAM IN THE SPHERE OF BIENNALE WHICH IT SUPERVISED AND ORGANIZED SINCE 1999 “FATMA ISMAIL 2003 : 14”.
SEVERAL ARTISTS APPEARS WHO CAN DEAL WITH THE NEW VARIABLES OF DIFFERENT MEDIUMS OF MEDIA WITHOUT EXPRESSING ON THE INTELLECTUAL SPHERE, THE PHILOSOPHICAL ONE OF CULTURAL ENVIRONMENT AND REAL SOCIALITY. THESE SUBJECTIVE VIEWS ACCOMPANIED BY THEIR WORKS IN EXPRESSING OF SOCIAL CONSTRUCTS NOT THE ORIGINAL AND SOCIAL ENTRIES IN THE SOCIETY. MOST OF THESE SUBJECTS ARE “CRITICISM OF REALITY”, “ANTI – VALUABLE” INTENDED ABSENCE” OR HUMOROUS NUGATORY”.
THE DIGITAL SCENE ILLUSTRATES THE MECHANISM OF DIGITAL PAINTING THROUGH THE INTERNATIONAL FORUMS.
WE SEE FREQUENCE SCENES ON ONE THEME BUT IN MANY FORMS, HOWEVER, MORE THAN ARTIST PARTICIPATE IN ONE THEME OR THE SAME SUBJECT. THE QUESTION NOW “ARE THE SUBJECTIVE THEMES ACCOMPANIED BY THE NEW EXAMPLE OR NEW IMAGINATION WHICH DEALING WITH THE CONTEMPORARY STRANGE OR ANTI SOCIAL AND VALUABLE REALITY OF HUMOROUS NUGATORY SUCH AS EXPRESSING ON AIMLESS OR ORDERLY ANARCHY IN THE SOCIAL CONSTRUCTIONS OR DISGUISED MOCKING ON HABITS AND INHERITED TRADITIONS, LIKE USING ENTERTAINMENTS SUCH AS PUPPET SHOW BUT IN A NEW WAY FOR ACCOMPANYING THE NEW AND CONTEMPORARY PICTURE. THIS IS A REAL FOLLOWING TO THE COMPLEXES OF ECONOMIC AND SOCIAL AND CULTURE CHANGEABLE IN THE EGYPTIAN SOCIETY, WHENEVER CALL THESE SUBJECTS IN THE FUTURE THROUGH MEMORY OF ART HISTORY OF THESE WORKS; THEY WILL EXIST AND CONTINUE OR THEY WILL BE IN THE SCENES OF SIGNS AND NEW SYMBOLS, SUCH AS ABSENCE SYMBOLS; DESERT AND SOME SCENES, WHICH THE WESTERN PEOPLE FORGOT SUCH TOURISTIC SCENES. WHY THE NEW GENERATION OF PIONEERS DIDN’T USE THE SPIRITS OF FACT, SOCIAL AND CULTURAL VARIABLE AS EMOTIONAL DEPTH TO ACCOMPANY THE NEW VISUAL ARTS BECAUSE THE EGYPTIAN CULTURE NATURE HAS UNIQUENESS IN COMPONENTS.
3- THE 3RD COMPLEX : THE DIRECTIONS OF MODERNESS, POST – MODERNESS AND THE INTERACTION OF NEW VISUAL CULTURE :
THE CONTEMPORARY ARTISTIC DIRECTIONS ARE A CREATION DECLARATION TO THE CULTURAL, ECONOMIC AND SOCIAL CHANGEABLES AT THE BEGINNING OF THIS CENTURY. THE INTERNET AND DIGITAL CONNECTION AND DIFFERENT MEDIAS SUCH AS DIFFERENT MASS MEDIA AND ITS DEVELOPING IN CHANGEABLES, DIRECTIONS AND THOUGHTS WHICH PARTICIPATE, CAPTIVATE AND AFFECT ON THESE DIRECTIONS. VISUAL ARTS HAVE BEEN AFFECTED BY MOVEMENTS, SCHOOLS, STYLES AND SPECIAL CHANGEABLE ARTISTIC DIRECTIONS IN EUROPE AND AMERICA, HOWEVER, SOME IDEOLOGIES SUBMITTED TO AUTOMATIC AESTHETICS SUCH AS: CUBISM, FUTURISM, PAUHOUSE AND STRUCTURNISM. DADISM “1916 – 1924” WAS A MEETING POINT FOR SOME MODERNESS ARTISTS SUCH AS : HANZ ARB, MAX ARNST, FRANSIS PICABIA AND DOUSHAMP. DADISM ASSURED ITS IMPORTANCE TO MAKE THE ARTIST USING AUTOMATISM, THE INTERACTION HAD APPEARED BETWEEN THE FINE ARTISTIC MEDIAS AND DIRECT CONSTRUCTION OF PREPARED AND MANUFACUTED THING IN ART “ MOHESN ATYA, 2002 : 20”. FLEXIS MOVEMENT DECLARED ITS SITUATION AND COMPAIGN AGAINST ART BY GEORGE MASYOUNASS AND HENRY FLINT, HOWEVER, HIS FAMOUS STRIKE IN NEW YORK IN FRONT OF MODERNART MUSEUM, METROPOLITIANMUSEUM AND LANCOLNCENTER. THE STRIKERS CARRIED SIGNS CALLING FOR “DESTRUCTION OF SERIOUS CULTURE” “DESTRUCTION OF ART” AND DESTRUCTION OF ARTISTIC MUSEUMS” “MICHALE EDERN, 2000 : 194”. THE THOUGHTS OF FLEXIS CONNECTED WITH THE CHANGING OF POP ART WITH ANDY WARHALL AND USING SEVERAL TECHNIQUES SUCH AS: PRINT, PHOTOGRAPHY AND DIGITAL ARTS. NEW DADISM USED THE PREPARED THINGS THOUGHT AND CREATIVE EXPERIMENT SHORTHAND OF ALL UNARTISTIC ELEMENTS. CONCETVISM PUBLISHED DATA IN 1990 CARRYING LOGO AGAINST ART. THEN THE PHILOSOPHY OF POST MODERNESS AND ITS DIRECTIONS TO RETURN TO ART HISTORY AND SAVING THE PHILOSOPHY OF ART TO IMPLICATE THROUGH MODERNESS ON THE MIDDLE OF THE NINETEENTH OF THE ART CENTURY AND THE BEGINNING OF THIS CENTURY, MANY ARTISTS APPEARED WHO PERFORM THEIR REGIONAL CULTURES THROUGH FORUMS AND INTERNATIONAL BIENNALES, HOWEVER, THE GENERAL EXAMPLE OF THE INTERNATIONAL ARTISTIC SCENE WHICH INCLUDED THE REGIONAL EXAMPLE OF AFRICA, ASIA AND AMERICA CONTINENTAL, HOWEVER, DIGITAL CAMERAS, ELECTRONIC SURVEY EQUIPMENTS, DVD AND CD PLAY IMPORTANT ROLE TO EXHIBIT THE PAINTINGS ON THE INTERNET AND THROUGH SHOPING PROCESS. MOREOVER, EXPRESSING THROUGH THE SCREEN ABOUT ADMIRATION OR CONTEMPT. THIS SCREEN IS FULL OF SYSTEMS TO DELEGATE AND CONVINCING. THE MOVEMENT CONNECTS WITH ITS MOVING EXISTENCE WHICH WAS AN EPISODE OF MOVEMENTS THROUGH HISTORY AND “EXISTENCE”. THE EXISTENCE WILL NOT BE WHAT WE KNOW BECAUSE THE TIME WILL STAMP OUT THE PRESENT IN LITTLE SECONDS BY A LOT OF PAINTINGS THE CONCEPTS PAST, PRESENT AND FUTURE WILL DISAPPEAR, HOWEVER, THE HIGHLY SPEED NESS WILL LIBRATE THE PRESENT TO EXIST BY ITSELF MORE THAN BEING AT THE TIME “AHMED FOUAD SELIM, 1999 : 12”. IT WILL BE DIRECT AND INDIRECT ENTRANCES AND SYSTEMS ACCOMPANIED BY THE CONTEMPORARY ARTISTIC DIRECTIONS AND FOR THE CONTINUOUS OF THE CONTEMPORARY ARTISTIC ART THROUGH THE DIFFERENT ERAS, TRANSFERENCE FROM STAGE TO ANOTHER IN WHICH THE CONTEMPORARY ARTISTIC DIRECTIONS ARE FORMED THROUGH THE NEW WORLD THOUGHT. NEW ELEMENTS ARE CONSTRUCTED TO ACCOMPANY THESE THOUGHTS BY SUBJECTIVE, CULTURAL, SOCIAL VIEWS EXPRESSING THE REALITY OF CHANGES IN THE EGYPTIAN SOCIETY AND THROUGH USING MULTIMEDIA, IN WHICH ALL ART INTERACTED IN COHESIVE ARTISTIC UNIT.
COMPLEC 4 : THE INVARIABLES, CHANGEABLES AND CREATIVITY FREEDOM
THE INVARIABLES AND CHANGEABLES ARE MAIN AXE IN THE SUBJECTIVE MOTIONS OF CREATIVE. EXPERIMENT OF ARTIST. THE THEORETICAL THOUGHTS OF SUBJECTIVE AND EXPRESSIONISM VIEW DEPEND ON THIS THROUGH PRESENTING THE CHANGEABLE BY USING INVARIABLE OR VICE VERSA ACCORDING TO THE SYSTEM OF THOUGHTS, DIRECTIONS, THEORIES AND STYLES WHICH DEPEND ON THE EXPERIMENTAL EXAMPLE OR IMAGINATIVE ONE MANY WAYS TO PRODUCE ART FORMS, HOWEVER, FORM IS AN EXPRESSION TO THE STABILITY THAT REACHING IN A CERTAIN TIME.
THE DISTINGUISHED CHARACTERISTIC OF THE CONTENT IS THE MOVEMENT AND CHANGING. SO, WE CAN SAY THAT FORM IS CONSERVATIVE AND THE CONTENT IS REVOLUTIONARY. THE CONTENT OF THE SOCIETY IS LIFE PRODUCTION AND REPRODUCTION OF IT. THIS OPERATION HAS MANY FORMS ACCORDING TO THE WAYS OF SOCIAL ORGANIZATION, LAWS AND BELIEFS.
“ARNST FISHER 1971 : 168”. THE INVARIABLES AND CHANGEABLES MAY BE ANALYTICAL DIVIDING OF SOCIAL CONCEPTS AS BIFORMS IN THE SOCIAL ELEMENTS SUCH AS : CHANGING, STABILITY, DYNAMICS, STATISTICS, CURRICULUM INDIVIDUALITY, GROUPING, VOLUNTARY, FATALISM, NATURE AND OFFICIALISM, OBJECTIVE AND SUBJECTIVE, FACT AND VALUES, SMALL AND BIG UNITS, MATERIALISM AND IDEALISM, RATIONAL AND IRRATIONAL, ETC ….. THESE BIFORMS ILLUSTRATE THAT THERE IS NO NEED FOR CHOICE BETWEEN VALUES AND SOCIAL RELATIONS, HOWEVER, IT’S THE THEORY OF CULTURE.
THE SOCIOLOGY OF KNOWLEDGE TRIES TO FIND RELATION BETWEEN THE TYPES OF IDEAS, BELIEFS, CONCEPTIONS AND SOCIAL CURRICUMSTANCES WHICH INCLUDE THESE TYPES. THE INVARIABLES AND VARIABLES ARE MAIN AXE IN THE CREATIVE EXPERIMENT OF THE ARTIST IN THE CULTURAL AND SOCIAL CONVERSATION IN THE NEW THOUGHTS SYSTEM. IN OTHER WAY IT’S AN IMAGINATIVE EXAMPLE HAS THE CHARACTERISTIC OF MUTUAL EFFECTION AMONG DIFFERENT CULTURES “CULTURAL GLOBALIZATION”.
THE ARTISTIC VIEW CHANGED FROM EMOTION AND RECEPTION TO PARTICIPATION AND ACTION. WE SHOULD CONFESS THAT THE CONTEMPORARY ART IS SUBJECTIVE. THE PERSONALITY IS THE CHARACTERISTIC OF PIONEER ART AND THE CHARACTERISTIC OF POST PIONEER ART. THIS CHARACTERISTIC WILL STILL ACCOMPANY THE FINE ART WAY.
THE METHOD AND STYLE “ THE METHODOLOGY OF RENEWING IN THE VISUAL SCENE”.
THE 20TH YOUTH SALON SESSION COMES BY RENEWING METHODOLOGY IN THE PANORAMIC VIEW OF THE VISUAL VIEWS. THIS METHOD DEPENDS ON UNTRADITIONAL FORMATION AND RENEWING OF INTELLECTUAL, PHILOSOPHICAL, TECHNICAL AND EXPERIMENTAL FORMATION TO REALIZE THE CONTEMPORARY CHANGES IN THE EGYPTIAN SOCIETY.
THIS UNDERSTANDING IS A COMPLETE REALIZATION OF CULTURAL AND SOCIAL CHANGEABLE SPHERE AND EXPRESSING IT AS ANALYTICAL VIEW DEPENDING ON THE ORIGINALITY OF EXPRESSION AND THE FREEDOM OF ABSOLUTE CREATIVITY
George Fikry