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Research Article
Plagiarism Detection in GAN-Generated Abstract Art:
A Multi-Modal Semantic and Compositional Approach
Byungkil Choi*
Issue:
Volume 11, Issue 2, June 2026
Pages:
39-53
Received:
19 March 2026
Accepted:
27 March 2026
Published:
13 April 2026
DOI:
10.11648/j.ajad.20261102.11
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Abstract: This paper presents an interpretable multi-modal framework for screening potential plagiarism in GAN-generated abstract art. Because abstract works often resemble one another through palette, texture, rhythm, and massing rather than recognizable objects, single-metric or text-oriented plagiarism tools are insufficient. The proposed pipeline combines perceptual cues (MS-SSIM, color-distribution distances, Gram-matrix texture statistics, and edge topology), compositional cues (symmetry, balance, saliency spread, orientation entropy, and palette harmony), and semantic cues from CLIP and BLIP. Each channel is normalized, fused into a calibrated similarity score, and reported with uncertainty bounds and channel-level explanations. Using representative WikiArt-anchored cases and GAN-generated counterparts, the framework distinguishes probable derivation, stylistic influence, and independent creation more reliably than any isolated metric. The revised manuscript adds a consolidated related-work matrix, documented case provenance for A1–A5, illustrative output dossiers, and visual summaries of the comparative results. The method is intended as a transparent decision-support tool for scholarly, curatorial, and legal review rather than an automated adjudicator.
Abstract: This paper presents an interpretable multi-modal framework for screening potential plagiarism in GAN-generated abstract art. Because abstract works often resemble one another through palette, texture, rhythm, and massing rather than recognizable objects, single-metric or text-oriented plagiarism tools are insufficient. The proposed pipeline combine...
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Research Article
Entrepreneurial Start-Up Rates and Challenges Among Fashion Design Graduates in Ghana
Moses Opoku*,
Sarah Baiden,
Josephine Aboagyewaa-Ntiri,
Stella Daah-Siaw,
Kofi Kyeremeh,
Andoh Kwaku Conduah,
Sylvester Kumi Boakye
Issue:
Volume 11, Issue 2, June 2026
Pages:
54-65
Received:
13 March 2026
Accepted:
27 March 2026
Published:
15 April 2026
DOI:
10.11648/j.ajad.20261102.12
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Views:
Abstract: This study investigated the characteristics of fashion education in Ghana and analyzed the factors facilitating and hindering entrepreneurial ventures among fashion design graduates. A descriptive survey approach was employed to analyze quantitative data from 120 graduates across six metropolitan areas, examining the impact of educational experiences, skill development, and institutional barriers on entrepreneurial success. The study found that fashion education in Ghana has changed over the past decades, and graduates vehemently confess that they have improved their technical, creative, and business skills. Along with the growing demand for fashion made in Ghana, graduates were strongly encouraged to start their own businesses by getting hands-on training, joining industry groups, and taking business-related classes. Even with these positive initiatives, it was found that long-lasting structural problems still make it hard for people to go from training to starting their own businesses. Some of these problems are limited access to start-up funds, high production costs, bad management skills, unpredictable market conditions, regulatory bottlenecks, and a lack of modern technology and supply chains. These problems make it tough for fashion start-ups to grow and stay in business. The study concludes by recommending that to help Ghana's fashion graduates become more entrepreneurial and ensure the growth of the local fashion industry, TVET reforms need to be strengthened, links between institutions and businesses need to be improved, financing mechanisms need to be enhanced, and training infrastructure needs to be updated.
Abstract: This study investigated the characteristics of fashion education in Ghana and analyzed the factors facilitating and hindering entrepreneurial ventures among fashion design graduates. A descriptive survey approach was employed to analyze quantitative data from 120 graduates across six metropolitan areas, examining the impact of educational experienc...
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Research Article
The Holistic Alternative: Recovering Tagore's Educational Philosophy in Contemporary Indian Art and Design
Arun Mascarenhas*
Issue:
Volume 11, Issue 2, June 2026
Pages:
66-76
Received:
20 March 2026
Accepted:
3 April 2026
Published:
16 April 2026
DOI:
10.11648/j.ajad.20261102.13
Downloads:
Views:
Abstract: For over 175 years, Indian art and design education has evolved through colonial industrial art schools, nationalist revivalist experiments, post-independence modernist institutions, and contemporary global frameworks. While policy reforms—most recently, the National Education Policy (2020) and UGC guidelines on internationalization (2021)–have sought to enhance India's global academic standing, they have established an economic rationale that emphasizes market efficiency, industrial scalability, and professionalization. This paper critically examines the prevailing economic dominance within design disciplines, highlighting how curricula increasingly prioritize technical proficiency and industry preparedness over considerations of environmental ethics, social justice, and cultural diversity. Through historical analysis, policy critique, and disciplinary case studies, it contrasts prevailing approaches with Rabindranath Tagore’s holistic educational vision of kālā bhābanā, which integrates art, craft, community, and ecology into a cosmopolitan yet locally rooted pedagogy. Incorporating insights from critical design theory, liberal education models, and participatory frameworks, this study advocates a shift in Indian art and design education towards ethical, regenerative, and community-focused practices. This approach redefines designers not only as service professionals but also as cultural custodians and systemic thinkers. They are envisioned as capable of tackling climate crises, social inequalities, and cultural homogenization while maintaining creative diversity within an educational landscape that is both globally aware and locally rooted.
Abstract: For over 175 years, Indian art and design education has evolved through colonial industrial art schools, nationalist revivalist experiments, post-independence modernist institutions, and contemporary global frameworks. While policy reforms—most recently, the National Education Policy (2020) and UGC guidelines on internationalization (2021)–have sou...
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