Ahmad Hasan

Education plays a vital role in developing human potential comprehensively, encompassing both physical and spiritual dimensions. However, contemporary educational practice tends to privilege cognitive and academic achievement, often at the expense of students’ physical, moral, and spiritual growth. Although a growing body of research has examined Al-Farabi’s educational philosophy, most studies address his thought in general terms and have not specifically analyzed how physical–spiritual balance is articulated within his conception of educational aims. This study addresses that gap by analyzing the concept of physical and spiritual balance (jasmani–rohani) within Al-Farabi’s philosophy of educational objectives and its relevance for contemporary education. Using a qualitative descriptive approach through library research, primary and secondary sources on Al-Farabi’s educational philosophy were analyzed using content analysis. The findings show that Al-Farabi conceived education as a path toward happiness (al-sa’adah), attained through the harmonious cultivation of all human faculties. Physical balance is realized through bodily health and the cultivation of practical skills, while spiritual balance is cultivated through moral formation, intellectual development, and the strengthening of spiritual values, oriented toward the formation of the virtuous human being (al-insan al-kamil) within the framework of the virtuous city (al-madinah al-fadilah). These findings resonate strongly with contemporary educational goals that emphasize the holistic development of learners. Al-Farabi’s thought therefore offers a philosophical foundation for building a more holistic, humanistic, and character-oriented education system, one capable of responding to the erosion of moral character and student mental health documented in current Indonesian education discourse.

Practice-based immersive design research produces rich artefacts but often weakly traceable claims. Prototype operation, designer reflection, technical traces, participant accounts, and theoretical interpretation may be combined even though they support different inferences. This short article proposes the Prototype-to-Claim Traceability Protocol (PCTP), developed through methodological synthesis and demonstrated through an artefact-centred reconstruction of four immersive VR prototypes: Resonance of Light, Breathing Space, Temporal Displacement, and Echoes of Self. No participant quotations, outcomes, recordings, transcripts, or personal data are reported. The protocol separates five evidence classes and pairs them with descriptive, relational, explanatory, and transfer claims. Its six-stage workflow covers evidence planning, source identification, artefact versioning, source-near coding, claim–evidence mapping, and negative-case/verb auditing. The PCTP treats absent or retrospective records as limits rather than invitations to reconstruct evidence. It offers a compact method for retaining the epistemic value of making while increasing auditability, reflexivity, and ethical restraint. Keywords: practice-based research; research through design; virtual reality; prototype; traceability; evidence; reflexivity.

Immersive virtual reality (VR) is commonly evaluated through presence, fidelity, usability, and task performance. These approaches do not fully explain how technical transformation, abstract audiovisual form, and bodily activity jointly become materials of aesthetic design. This short article proposes the Embodied Aesthetic Framework (EAF) for designing and analysing immersive VR animation. Developed through an integrative synthesis of phenomenology, enactivism, postphenomenology, animation aesthetics, presence research, and embodied interaction design, the EAF distinguishes three interdependent constructs: Technological Mediation, Aesthetic Abstraction, and Embodied Cognition. Reflective Awareness is treated as a contingent outcome rather than an automatic effect. The article defines observable features for each construct, formulates four relational propositions, and presents a compact application protocol. The framework shifts attention from maximising immersion to composing a legible relation among system transformation, audiovisual organisation, and bodily sense-making. It is intended as a mid-range explanatory and generative framework, not a psychometric scale or a claim of universal effects. Keywords: immersive virtual reality; animation; embodied aesthetics; technological mediation; abstraction; embodied cognition.

This study examines a historical phenomenon of the caliphate of al-Muʿtaḍid bi-llāh Aḥmad b. Ṭalḥa (r. 279–89/892–901), namely the remarkable finance-generating policies of his administration. When al-Muʿtaḍid succeeded to the caliphate, the State Treasury was empty except for a few dirhams, on account of the circumstances faced by, and the actions of, his predecessor. First, there had been the internal revolts, especially the Zanj rebellion, which lasted some fifteen years, 255–70/868–83. Second, some of the major Islamic territories had seceded, notably Egypt and al-Shām (Greater Syria), controlled by the Tulunids (254–92/868–96), and Persia, governed by the Saffarids (254–87/867–900): these secessions terminated the flow of revenues from the regions concerned to the ʿAbbasids' capital in Baghdad, in particular land taxes, which were the state's main source of financial support at that time. A third factor was the irresponsible behaviour of the vizier, Ismāʿīl b. Bulbul (d. 279/892), who squandered state funds by distributing them among his own companions and supporters.Under al-Muʿtaḍid, various new measures and procedures were adopted to avoid financial shortfalls and increase state funds. These were so successful that by the end of his caliphate there were more than nine million dinars of ready money in the State Treasury.This study looks at the measures and procedures adopted in order to bring about this sound financial footing. It does so under the successive headings of political, financial and economic, and administrative measures.

The propaganda posters of New China from 1949 to 1976 served as the core visual communication medium during a specific historical period. They were not only an important form of artistic creation but also a narrative text that carried the spirit of the times and social demands. During this period, the propaganda posters used visual symbols as the narrative art. Through systematic image construction, theme focus, and communication practice, a unique narrative system was formed. Based on the dual perspectives of historical context and artistic ontology, this paper explores the narrative artistic features of the propaganda posters of New China from three dimensions: the value orientation of narrative themes, the encoding logic of narrative symbols, and the communication efficacy of narrative structure. By combining specific case studies, it examines how the New China propaganda posters achieved the unity of artistic expression and social function in the context of the times, providing theoretical references for understanding the visual cultural narrative of a specific historical period.

The development and innovation of printing technology have profoundly influenced the production techniques of Chinese propaganda posters, and the iterative process of these techniques has further affected the narrative expression logic and presentation effect of the posters. This article takes printing technology as the core research perspective, focusing on the entire process of Chinese propaganda posters from plate-making, printing to dissemination, and exploring the production techniques characteristics of different historical periods, such as lithography, offset printing, and screen printing. It analyzes the specific manifestations of the choice of techniques in aspects like visual symbol refinement, color presentation accuracy, picture detail expression, and coverage of dissemination range, and then reveals the deep shaping and multi-dimensional influence of these techniques on the narrative themes, narrative structure optimization, narrative emotions transmission, and realization of social mobilization functions of the propaganda posters. The research finds that printing technology, by empowering the production techniques, not only determines the accessibility and intuitiveness of the narrative expression of propaganda posters, but also affects the audience's reception and recognition of the narrative content through differences in material texture and visual impact, becoming a key technical link connecting the artistic expression of propaganda posters, the demands of the times, and social dissemination. The research of this article aims to enrich the technical dimension research on the narrative art of Chinese propaganda posters and provide historical references and theoretical support for understanding the interaction between visual communication and technological evolution.