Abstract
Exploring the notion of authenticity enables us to understand the practice and history of art as an expression of the values, beliefs, and ideas by the artists for their audiences. As described by Denis Dutton in his essay Authenticity in Art, the notion of authenticity can be broken down into two distinct categories: nominal authenticity - the identification of origins, authorship, or provenance, and expressive authenticity - the manifestation of ideals and values, both individually and collectively. While the influence of digital culture is ubiquitous and assimilated, does its impact effect the authenticity of an image or object. Or, does the intent of the artist remain the standard in which all processes are validated? In this paper, Bona Fide: The Notion of Authenticity in Digital Culture, I am interested in the ways in which an artist communicates authenticity. I will examine different art making methodologies to explore the idea of authenticity in a pluralistic, synthetic, and digital world.

Abstract
Animation may gain an insight into the understanding of the nature and aesthetics of human movement through dance and choreography. Motion-capture technology has been utilized by both dance and animators for various works: that is, performance and analysis. This technology (mo-cap) actually may offer a bridge for both the art and science of movement. this paper will include an overview of dance analysis from early techniques Delsarte, Dalcroze, Laban to the present world of motion-capture. The lecture will include DVD presentations of performance and biomechanical analysis of movement. Additional reference will highlight the authors pioneering development of Robot Choreography. 19

Abstract
Observed from the prospective of Architectural design, typology of performance buildings, especially theatre buildings, suffers a serious stagnation. Causes that influenced this state of play could be tracked for in development divergence of architecture on one side, and the play itself on the other. Although these two factors coexisted through history, at some point the play took swing in its evolution, occupying all available fields of plausible development, while architecture stopped at expected physical limits. Today, the generally accepted fact is that there is no strictly defined type of theatre buildings that is capable of embracing the contemporary play. The question that reveals the essence of problem is: Does the play actually need the building in any sense? This paper points out the problem of overall state and potentials of Buildings for stage performances in Serbia today, aiming to find answers for future approach to built heritage considering demands of the contemporary play. Potentials of these buildings are not to be understood in term of utilization of existing structures, but in term of detailed analytical approach toward future projects. Examining the conversion of solid, closed theatre boxes into almost undefined open spaces, according to needs and demands of the play, we tried to understand the current situation, and give an architectural answer to it. What is architecture to do in a situation when it has already reached its limits of variations as a form, while the function / program is still modifying and evolving without predictable end? While designing National Theatre in Subotica, the design team carefully observed the logic of designing fa?ade configurations. As the project of restoration, reconstruction, adaptation and annex of theatre building, situated in the very core of the towns centre, took 20 years from architectural competition to its construction, architects faced a challenging task to design a buildings skin that envelopes its 20 years old content of carefully planned functions. This project represents the finest case in our national practice of architecture trying to handle its developing art function on one side, and interacting with the city at the other. Application of glass panels that form a transparent membrane between theatre inside building and the town outside opened a possibility for architecture to take the role of mediator in this town-theatre interaction demand. We could say that architecture cleverly stepped away in secondary role, leaving the function of the building to bring out the everlasting changes of theatre play to the town. It seems that the time has come for a major attitude change - perhaps it is time to use ephemeral structures to answer ephemeral questions.

Abstract
The reform carried out in Polish school system in 1999 involved profound changes into the educational way from Kindergarten to Dissertation. The education system comprises: pre-school institutions, primary schools, lower secondary schools, upper secondary schools and post- secondary schools. The main aim of music education in schools is to stimulate comprehensive development of all students. The contents of teaching are, among others, folk, classical and pop music; main musical terminology; variety of national music ? including regional music and the diversity of other countries music. Music teaching methods include most of all, organizing and developing individual and group musical activities among students ? singing, playing instruments, and listening to music. Research and experiments show that listening to music should be introduced at the earliest age because it stimulates general and music development in young children. Listening to and getting acquainted with music is a prerequisite for shaping music abilities, first of all music memory, training concentration and music imagination. Active method of listening to music is a way to teach and learn music. Children learn through doing, exploring, playing and improvising. Music may be accompanied by clapping and stamping or by drums, sticks and other children instruments. It is an integration of movement, dance and language. One is involved not only as a listener but also as participant. During working out pieces of different composers students use movement (simple dance forms, choreography inspired by historical dance), instrumental improvisation (playing recorder, Orff instruments) and melodic recitation. Music teachers in Poland often use active methods of teaching. According to the new educational basis it is also possible to create authors teaching programs.

Abstract
The purpose of this research is to clarify the element of organizational structure and development process involved in design development to achieve creating highly advanced, innovative design and establishing a coherent corporate design identity thorough making a deep analysis of cases in Japanese electronics manufactures. Therefore, through considering prior studies about product development and design management, this research extracts an analytical perspective to make analysis organizational structure and development process involved in design development. This research mainly describes two points. Firstly, this research describes organizational structures and development processes that two Japanese electronics manufactures adopt. Secondly, this research describes designers communication with other department members and other designers in that organizational structures and development processes. Finally, this research makes analysis of these cases through the analysis perspective. As a result, this research finds out what natures of communications are needed among members in order to create highly advanced, innovative design and establish coherent corporate design identity. This research also finds out the element of organizational structure and development process to affect such communications among members.